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A SAUSAGE FROM BOLOGNA 



A SAUSAGE FROM 
BOLOGNA 

R Come&p in font Rcte 

BY 
JOHN JAY CHAPMAN 



For aught that I could ever read, 

Could ever read by tale or history, 

The course of true love never did run smooth, 

A MIDSUMMER NIGHT'S DREAM 



NEW YORK 
MOFFAT, YARD & CO. 

1909 



COPYRIGHT, 1909, BY JOHN JAY CHAPMAN 

ALL RIGHTS RESERVED BY THE AUTHOR 
INCLUDING RIGHT OF STAGE PRODUCTION 



C^> 



^6\ 



D. B. UPDIKE, THE MERRYMOUNT PRESS, BOSTOtf 



LIBRARY of CONGRESS 
Two Copies Received 

APR 14 1909 

Copyright tntry 

dftSS J] AXc. No. 

COPH B. 



DEDICATED TO THE CLASS OF '84 
HARVARD 



SCENE 

Bologna 

Act I 
Scene 1 . A Room in the Inn. 
Scene 2. The Countess's Boudoir. 

Act II 

The Countess's Drawing-room. 

Act III 
Scene 1. A Room in the Inn. 
Scene 2. The Countess's Boudoir. 

Act IV 

Scene 1. The Corridor outside the 
Countess's Drawing-room. 

Scene 2. The Countess's Drawing- 
room. 



CHARACTERS 

Hector Bononcini, a young man who returns from his 

travels, leaving his betrothed, Donna Julia, in Paris. 

Andrea, his servant. 

Giacomo "1 

_. I three of his early friends. Giacomo is be- 

Pietro V * , * J 

I trothed to Lucia. 
Rufredo J 

Prince Stephen Teleky, a young Hungarian noble- 
man. 
Contessa Bononcini, a distant cousin of Hector s. 

Angela "| 

V her nieces. Lucia is betrothed to Giacomo. 
Lucia J 

Abbe Pandolfini ) . _ 

\ friends of the Countess. 

SlGNOR SARRAGOSSA J 

Bobo Sarragossa, son ofSignor Sarragossa. 
Hippolito, servant of the Countess. 
Cavaliere Protocopoli 

CONTE GlUSTI 

commandante frescobaldi 

Signor Donato 

Donna Julia, a widow, betrothed to Hector. 

Matteo, servant to the Abbe. 

Luigi, an inn-keeper. 

Officers of the Police and Guardians of the Peace 



members of a benevolent 
society called the Apos- 
tles of the Poor. 



ACT I 

SCENE FIRST 
A Room in the Inn 

Enter ^ as from a journey r , Hector and Andrea his ser- 
vant; Luigi, the innkeeper, conducting them. 

Hector {to Luigi). No announcement, mind you! 

Show them in. 
Tell them his excellency waits for them. 
No better room than this? There, get you gone! 

[Exit Luigi. 

Andrea. It is his best, my master. Ah, my heart ! 

Hector. And has not suffered sweeping since I knew 
it. 

Andrea. The very bedposts, chairs and candlesticks! 
The very smell! The fat old innkeeper — 
I almost took the rascal in my arms — 
That villainous old Luigi. Ah, signor, 
Bologna has not changed. Even at the gate 
My heart was all a-flutter; every street, 
Column and courtyard, statue, niche, facade, 
Nodding a welcome to her sons again. 
Your honour does permit me to shed tears? 

Hector. Not on your life, you wily crocodile ! 

[i] 



A SAUSAGE FROM BOLOGNA 

You will betray nie. Wait till supper time. 
Some gentlemen are coming here to meet me. 

Andrea. Gentlemen? 

Hector. Friends of my boyhood, comrades, school- 
fellows. 
I have not seen them for this fourteen years, 
When they and I were at a baby-school 
Before I went to France. Control your tears 
And you shall see some sport. I sent them word 
The Mayor of Paris, coming to Bologna, 
Was pleased to have them call. 

Enter Luigi "with a large register. 
Luigi. His excellence will deign to write his name? 
The city laws are strict — 

Hector (knocks the book from his hand). Get down, 
I say! — 
You 11 learn my name and title soon enough, — 
And show the signors up immediately. 

[Pushes him out. Exit Luigi. 
Andrea (producing a small packet). Forgive me, 
master. *T is a sacred trust. 
In Paris, ere we parted, Donna Julia 
Charged me, with tears, that I should give you this 
Upon our first aiTival in Bologna, 

[2] 



ACT FIRST 

Hector {taking packet). She thinks I flee her; but I 
fly to her. 
The jealous angel! Why, it is for her 
I make this stupid journey. It's for her, 
My Julia, my sweet, petulant, fond girl! 

Andrea. Yes, signor, but she is a widow. 

Hector. What's that ? What's that to you, Diogenes? 

Andrea. Widows lack confidence. 

Hector. Then give them love. 

I could not love her more were she a maid. 

Andrea. She is a widow; she will follow you. 

Hector. Follow she may, but find me she shall not 
Before I end my business in this town. 
Go and unpack. 

[Exit Andrea, and enter Luigi, showing 1 in Gia- 
como, Pietro and Rufredo. 

Luigi {in a whisper). It is a madman ! Have a care, 

your worships. 
Hector {places three a?mchairs for them, and they 
sit). Serene and noble gentles of Bologna, 
Who stand amazed that your deeds should live 
And cover France with knowledge of your names, — 
Shaking her lilies with your windy fame, — 
Know that I too was born in Italy. 

[3] 



A SAUSAGE FROM BOLOGNA 

Sit while I tell you something of myself. 

Pietro (to Giacomo). This is some charlatan whose 
tale will end 
With a request we buy a box of pills. 
I will be off. (To Hector.) Adieu, Polichinelle. 

Giacomo. Nay, stay; it is the latest thing from 
France. 
What more amusing pastime could we find? 

Rufredo. We are the dupes of an impertinence. 

Giacomo. Then stay and reap the sport. 

Hector. I was a scholar of some little note 
Before the down had blossomed on my lip. 

Pietro. What's that to us? 

Giacomo. Faster, old boy. 

Hector. In old Filelfo's school — (They manifest in- 
terest; rise, crowd about Hector, examining him closely.) 

Pietro. Filelfo's school! 

Giacomo. Who is it? Who is it? 

Rufredo. Who are you, in the name of Satan ? 

Hector. Do you not know me — Hector Bononcini? 

(Great excitement and shouts of "Hector, Hector." 

Hector embraces them and kisses each one on both 

cheeks, all of them talking at once.) 

Rufredo. But are you Mayor of Paris? (Laughter.) 

[4] 



ACT FIRST 

Hector. Yes, of Paris and of Baghdad and the out- 
lying provinces. Some few I cannot attend to person- 
ally, but I farm them out. Now what say you? Wine? 
{Rings the bell. Enter Luigi. To Luigi.) Wine! 

Pietro (to Luigi). Wine, you rascal! 

Rufredo (to Luigi). Wine! — do you hear? 

Luigi (aside). He has affected them all. (Aloud.) 
Immediately, your worships. 

Pietro. Come, tell us some tittle, some wee morsel 
of truth, — two words. How did you come? Where did 
you come from? Are you going to stay? 

Rufredo. Why do you conceal yourself? 

Giacomo. Are you flying from justice? 

Pietro. Or from injustice? 

Rufredo. In love? 

Giacomo. In debt? 

Hector. Listen ! I am come to you in a serious crisis 
of my affairs. As for the history of all my adventures 
since leaving Bologna — 

Pietro. Spare us, spare us! One wee morsel of truth 
is all I beg. 

Hector. It has become necessary for me to revisit 
my native land, and to revisit it in disguise. As to what 
disguise — 

[5] 



A SAUSAGE FROM BOLOGNA 

Pietro. If you go disguised as an honest man you 
will get found out immediately. 

Giacomo. Better set up as a thief. 

Hector. I think of turning actor. 

All. Bravo! 

Hector. But you must wait. I have a friend to in- 
troduce to you, the dearest friend I made in all my 
travels. He is, I find, by some divine accident, study- 
ing music in Bologna, and I have sent for him. {Enter 
Luigi, showing' in Teleky. To Teleky.) Ah, Stephen, 
to think of my finding you in Bologna ! My friends, 
Prince Stephen Teleky — Signor Pietro Sanguardi, 
Signor Giacomo dei Gatti, Signor Rufredo Dolci. {All 
the men bow formally.) 
{To Teleky, whose hand he is still holding.) They are 

my earliest friends; indeed my palm 
Was locked in theirs almost in babyhood. 

Teleky. Hector and I have long been bosom friends. 
A few short dizzy weeks of rapid youth 
Did leave us brothers; since which time I have 
Longed to call his friends mine. {Teleky shakes hands 

with the three.) 
{To Hector.) Hector, I have obeyed your mystic call 
Which trumpeted from the romantic world 

[6] 



ACT FIRST 

You ever walk in. If it finds me sad — 

Hector. We'll study how to dissipate the clouds. 
Here's to our meeting! (The wine has been brought in; 

they drink.) 
This congress from the corners of the world 
Has deep importance and immediate work. 

(They sit down. Hector takes from a portmanteau a 
package of papers wrapped in black oil-cloth and 
hands out documents as he proceeds.) 
I had an uncle, an eccentric sage, 
Rich, old and foolish. Now, this uncle dies, 
And leaves a fortune. There, behold the will, — 
A lawyer's letter. But I should begin 
By telling you this uncle had a niece, 
Already rich herself, a proud young girl 
Who has refused a hundred proper men, 
And is a problem to her family. 
And all these people are some kin to me, 
Pompous provincials and the kind of folk 
I knew that I should meet in Purgatory, 
But trusted not before. 

Giacomo (to Teleky). You know him, sir, 
And know his way of talking. He has not 
Seen his kind cousins for some fourteen years. 
Here in Bologna they are much esteemed, 
[7] 



A SAUSAGE FROM BOLOGNA 
And I myself — 

Hector. Pray, do not interrupt. 

This uncle, being inspired by the devil, 
Who teaches dying men to sting mankind, 
Bequeaths his fortune to this girl and me 
In equal shares, provided, yes, of course, — 
Witness the crafty malice of the thing, — 
Provided she and I will make a match. 

TeleJcy. Is it a common thing in Italy? 

Hector. Most common. A fantastic insolence 
Is usual in our wills. A living man 
Scruples to couple up his relatives 
With bribes of money. But a man once dead 
Dares anything. The worst is yet to come. 
If one of us, the victims of his choice, 
If either of us marries — 
The first to marry loses the estate, 
The other taking all. We must be lovers, 
Or, loving elsewhere, cut each other's throats. 

Pietro. Marry the maid; it is the easiest way. 

Hector. I do not even wish to see the girl, 
Who is, they say, so opposite to marriage 
That she does bite all suitors. 

Pietro. Perhaps she waits for you. 

[8] 



ACT FIRST 

Hector. It is my fear. 

I fear she may design to snap me up, 
And hold the fortune. 

Pietro. Hang her, let her go ! 

Hector. So have I done, nor given a thought to her 
Till — here, my friends, begins a confidence — 
I fell in love myself. Now all is said. 
I cannot wed before this maid be wed. 
A lovely girl in early widowhood 
Now holds my heart in France. Her only fault 
Is a most blind and senseless jealousy. 
Is any woman named, she sees a rival; 
And therefore dared I not explain to her 
My business in Bologna. 

Giacomo. Very wise ! 

Hector. A business delicate and intricate, — 
To marry off my cousin, and win her. 

Giacomo. To win the fortune, rather. 

Hector. Yes, of course; 

For without fortune, who can safely wed? 

Giacomo. O wise young bachelor ! 

Hector. Nay, hear me out. 

My Julia follows me upon the heel. 
I know she follows me. I need disguise, 

[9] 



A SAUSAGE FROM BOLOGNA 

Or this infatuate widow will undo me. 

Giacomo. She would not trust you on an embassy 
So supernaturally delicate 
As helping find a husband for an heiress. 

Hector. Something like that. 

Giacomo. Despair, young man, despair! 

Your cousin is the fury of Bologna, 
A sour, merciless maid. I know her well. 

Hector. Till I have seen her I will not despair. 
I need a name to reach her drawing-room. 
Stephen, how long have you been in Bologna? 

Teleky. Scarcely a month. 

Hector. What people have you seen? 

Teleky. People? No, none. I lead a hermit's life. 

Hector. Now, Stephen, by your leave, I'll take your 
name. 
Had you no letters to your father's friends ? 

Teleky. Letters? — why, yes; but being out of sorts 
I've not delivered them. 

Hector. Where are those letters? 

Teleky. Why, at my rooms. 

Hector. Letters of introduction! 

I'll visit my inspiring relatives 
Under the aegis of your documents; 
[10] 



ACT FIRST 

For my disguise will serve a double end. 
Hector, disguised as prince, can manage much 
Which Hector by himself, and Hector known, 
Could not lay hand to. In my natural self 
I am a dullard and a kind of drone. 
But in the semblance of another man 
My faculties grow quick as mercury, 
And every wheel in fortune's whirligig 
Obeys my will. I'll engineer a match 
To rid me of this saucy Angela, 
And leave me rich. 

Pietro. An inspiration! 

Giacomo. There will be sport in this, more than you 
know! 

Hector (to Teleky). Come, you are moody. Do you 
see a flaw? 
T is nothing to the pranks we played in Pesth. 

Teleky. I would not that my moods 
Made discords to your mirth. And yet, good friend, 
I am grown wise ; and since you saw me last 
Have eaten bitter herbs. 
Take me for what I am ; but bid me not 
Engage mine honour in an escapade. 

Hector. Not for the world. {Takes Teleky aside while 

[ 11 ] 



A SAUSAGE FROM BOLOGNA 

the others shrug shoulders and talk together in 
dumb-show.) There is some mystery? 

Teleky. I left my home in Hungary last year, 
Not in disgrace, but in a kind of fog, — 
The not unkind oblivion that descends 
On youths who burn the candle at both ends ; 
A timely disappearance, — but to me 
It brought remorse, repentance, cutting shame 
And hoiTor of myself. But 't is not this. {A pause.) 
Could you but feel one moment's reverence — {Hector 

takes his hand.) 
The music that now keeps me in Bologna 
Was never drawn from mortal instrument. 

Hector. Ye gods, he is in love! 

Teleky. But four days since, 

The streets were crazy with the carnival, — 
Buffeting cries and colours in the air 
Smote on my griefs all day. I watched them out, 
The saddest figure in Bologna's streets. 
Late in the afternoon I found myself 
Beneath a balcony, nor can I tell 
How long I had been gazing, for she seemed 
To answer with a glance, unconsciously, 
The stream my soul was sending up to hers. 
She looked away, and with her finger-tips 
[ 12] 



ACT FIRST 

A rose that lay upon the balustrade 

Edged to its downfall. Then we both awoke, 

Not knowing what had happened, — I to doubt 

If it were accident that gave me this. {Showing a with- 

ered rose.) 

Hector. No accident; but an Italian girl, 
Who knows the use of carnivals and flowers, 
Lives in the realm of downright poesy 
Which other nations soar to. She is right, 
And you a mystic and absurd recluse. 
You should have laughed and kissed your hand to her. 

Teleky. No more than this? 

Hector. No more? How can I tell? 

You have not seen her since? 

Teleky. No. Yes, and no. 

I saw her in the street; and at a ball, 
To which I followed her incognito 
Through a friend's kindness, — but I was not known; 
Watched her the evening through, and at the end, 
With hand and eyes saluted silently. 

Hector. But not a word? 

Teleky. A word, — a word or two 

Beside the carnage door. 

Hector. Who is the girl? 

[13] 



A SAUSAGE FROM BOLOGNA 

Teleky. Her name is Angela. 

Hector. And her address? 

Teleky. Via dei Quattro Santi, venti sette. 

Hector. It is the girl, — ye gods, it is the girl! 

Teleky. What girl? 

Hector. My foe, the shrew, my heiress cousin. 

Teleky. It cannot be; she is a heavenly fount 
Of gentleness and love. 

Hector. It is, it is ! 

Teleky. It cannot be. 

Hector. Of course. But if it is? 

(Giacomo, Pietro and Rufredo have overheard Hec- 
tor's exclamations, and have caught the drift of the 
conversation which they are following with eager- 
ness. They have approached Hector and Teleky.) 

Giacomo. Now in the name of Moses and the saints, 
Give me one moment's notice all of you ; 
For none of you can guess the rampant game 
That fate unwinds us into. Know that I 
Am now affianced to the sweet Lucia, 
Sister to Angela the celibate. 
Half of my days are spent with both these girls, 
And with the aunt who is their guardian, 
A dear old countess, who in sheer despair 
Over our marriage-hating Angela 

[ i*] 



ACT FIRST 

Builds all her hope on Hector. Hector now 

Is come to save us! Hector is the word 

Opening all doors that lead to Angela. 

A Hector we must have, — must have. But how? 

Listen, the thing is plain : If Teleky 

Will lend his name to Hector, Hector must 

Lend his to Teleky. 

Hector. But let me see. 

I thought to disappear without a trace, 
Not leave a living dummy in my place 
To show my trail — 

Giacomo. A Hector we must have! 

Hector (to Teleky). Have you a mind to see the girl 
again ? 

Teleky. If it be she, to reach her I consent 
To go through torture and imprisonment. 

Giacomo. The thing is done ! You shall be taken in 
Where only angels and domestics walk, 
And see her every day and all day long. 

Hector. To help a friend I do it. 

Giacomo. I'll launch you both upon the drawing- 
room, 
Then seek the pantry to let laughter loose. 

Hector {giving' the package of papers to Teleky). 

[15] 



A SAUSAGE FROM BOLOGNA 

Stephen, take these; they are your sailing papers. 
And send me yours at once. 
You have a uniform among your traps? — 
One of those gorgeous and ancestral things 
That you Hungarians wear — 

Teleky. Why, yes, — why, yes — 

Hector. I need it. Send it round. 

Ah! one thing more. To make me quite complete, 
Here register, — Prince Stephen Teleky, — 
You are, you see, a guest wdthin the inn; 
Sign on the lower line — so. Very good. {Teleky signs.) 
Good friends, good-bye. I have a role to play 
And must reflect. You great Hungarians 
Are often artists, patrons of the arts 
And men of mind? 

Teleky. My uncle Ladislas 

Has fifty pieces in his orchestra, 
And leads the band himself. 

Hector. The very type! — 

The type I have in mind, and may adopt. 
Perhaps I shall regenerate the stage, 
Collect a troupe of noble amateurs, 
And shake up Hamlet, Lear and Aeschylus. 
Prepare for something learned and sublime. 

[ 16] 



ACT FIRST 

SCENE SECOND 

The Countess's Boudoir 

Angela and Lucia. 

Lucia. Really, sister Angela, you are incorrigible. 
You flirt with young Sarragossa, and you mean no- 
thing by it. 

Angela. I do not flirt with young Sarragossa. He is 
a good, harmless youth, and a friend of mine. 

Lucia. But your intentions are not serious, are not 
honourable. 

Angela. His father has made a great quantity of 
excellent macaroni; and it annoys my snobbish aunt 
that I should flirt with Bobo. That is simple, is it not? 
Oh, it is all very well for you, who have no complica- 
tions in your life ! You have your Giacomo. Two love 
birds, — you have your cage and your seeds. But I am 
the heiress, and I must be hawked about and talked 
about. No romance for me! No long good-nights; no 
letters, pressed into the hand; no early walks and late 
meetings and all the sweet, mystical telegraphy be- 
tween times. Everything in the open ! Everything flat 
and worldly ! Oh, Lucia, dear, I will try to be good, 
and not break Bobo's heart; but you must bear with 

me. 

[17] 



A SAUSAGE FROM BOLOGNA 

Lucia. Indeed, I feel for you, Angela; but your time 
will come. I felt it at the carnival. 

Angela. Ah, what a sad time that carnival! Every 
street lass with her lover, parading herself before my 
eyes. And within my heart, famine! Now comes this 
dreadful cousin from abroad to inspect me, — a pro- 
fligate, a mountebank, a spendthrift, a traducer of 
women, a cold-blooded, calculating, selfish wanderer, 
who has lived for many years in Paris, — and he must 
look me over. 

Lucia. But you can refuse him. You and he are 
treated alike in the will. If you marry someone else, 
he gets all the money; if he marries someone else, you 
get all the money. 

Angela. I don't want the money. I don't want to 
refuse him. I don't want to see him. I cannot tell 
whether I want him or not, by such methods; nor can 
he tell whether he wants me or not. "Mr. Profligate, let 
me introduce Miss Fortune." Behold two damnable, 
selfish hypocrites facing each other; and marriage the 
question! Is it not base? Is it not degraded? Does it 
not desecrate and chill and defile? I had rather climb 
into a man's chamber, and meet him on the footing 
of a human being, than face him in the parlour in the 
guise of upholstery and documents. 
[ 18 ] 



ACT FIRST 

Lucia. For Heaven^ sake, Angela, you must not talk 
in this way. You make me tremble. I had something 
to tell you, but I am afraid. 

Angela. Let them not count on me! Aunt Teresa 
was a Palavicini and she married a Bononcini; and 
she killed him with explaining the difference, — the 
difference between cini and cini. Such people have no 
children — they deserve none. Let them nurse their 
coats of arms. 

Lucia. Aunt Teresa has been almost a mother to 
you, Angela, and it seems to me that you should bear 
with her infirmities. It is the dearest wish of her heart 
that you should marry this cousin ; but she has never 
harassed you. 

Angela. Forgive me, my blessed sister, I will tiy. 

Lucia {kneeling). Promise you will be wise. 

Angela. Why, my beautiful Lucia, who can pro- 
mise that in this world? 

Lucia {in a stage whisper, holding out a letter). The 
star-gazer! 

Angela (does not understand). 

Lucia (as before). At the carnival ! 

Angela (still does not understand). 

Lucia. At the ball ! 

[ 19] 



A SAUSAGE FROM BOLOGNA 

Angela {seizes the paper and reads it with emotion). 

Lucia. Ah, sister, may I not see it too? {Reads.) 

Musing, he stood beneath the palace wall 

And watched the joy that made his eyes grow dim; 

The tumult of the happy carnival 

That brought no face, no voice, no joy to him. 

Alas! A rose has fluttered to his feet. 

O life and death! But roses yet are sweet. 

Lost is the past, the future not yet found. 

As in a trance he wanders, seeing not; 

Like one who, walking on enchanted ground, 

Forgets the steps that brought him to the spot; 

But, as the dimness falls upon his eyes, 

He knows his soul has entered paradise. 

Angela. Is it of me that he is thinking? We stood 
together. 

Lucia. He is thinking of the rose. I threw him no 
rose. 

Angela. True. 

Lucia. At the ball he spoke to you, not to me. 

Angela. True. 

Lucia. Had he not looked so sad, I should not have 
delivered it. {Angela kisses her.) Had he not looked 

[20] 



ACT FIRST 

so, — so sincere {Angela kisses her) — so true (Angela 
kisses her) — so noble, so beautiful — (Angela kisses her 
many times and almost with violence.) He is clearly a 
poet, and therefore to be trusted; otherwise I should 
never have delivered the letter. But you will be wise. 

Angela. As wise as birds that trust the dulcet spring, 
Or fishes that leap back into the sea; 
True to their natures, wise in everything — 
So true, so wise, my lover findeth me. 

Lucia. Too fast, too fast. You will betray every- 
thing. (A little King Charles lap-dog runs across the 
stage.) Here comes auntie. You must keep up your 
shrewishness or we are lost. 

Angela. Never fear. Crossness fits me like an old coat. 

Enter the Contessa. 

Contessa. Good morning, my dears. Have you seen 
Fifi ? That dreadful tom-cat next door is a great dan- 
ger to her, and I cannot find her. 

Lucia. Fifi was here a moment since. 

Contessa. But sit down. I must talk to you both. 
Angela, my love, you must be calm, for the news con- 
cerns you. Hector Bononcini has left Paris. He is in 
Bologna, and he is coming to pay his respects this 
afternoon. 

[21] 



A SAUSAGE FROM BOLOGNA 

Angela. Hector Bononcini. He is my ringmaster; 
I must dance to his whip. 

Contessa. You are absurd, Angela, I must receive 
him. My house has always been open to members of 
your uncle's family. I determined when I married 
that I would make no class distinctions. And the situa- 
tion demands that we should all meet here. It is my 
duty. I am the custodian of these walls and of the 
family traditions. 

Angela. Yes, aunt. 

Contessa. I am sure that Hector is a young man of 
breeding, and that nothing will ensue to make me re- 
gret this reception of him on an intimate, — at least 
on a friendly basis. This meeting will be painful to you, 
as it will be to me. But it must be gone through with. 

Angela. I shall endeavour to do my duty, aunt. 
Must I wear my blue dress, so that he may judge of 
my arms? 

Enter Hippolito, and hands a letter on a tray to the 

Contessa. 

Hippolito. The gentleman will pay his respects this 
afternoon. [Exit Hippolito. 

Contessa. Dear me, Prince Teleky. This is a note 
from Giacomo, introducing Stephen Teleky. It is the 
[22] 



ACT FIRST 

first family in Hungary, my dears. The young prince 

has come to Bologna to study music. Now, Angela, I 

i 
have but one request to make of you, — that you will 

treat him with decent civility. His father is an old 

friend of mine. 

Angela. Does he come with an offer of marriage to me ? 

Contessa. Nonsense, child. He does n't come to you 
at all, but to me. 

Angela. Then I will treat him as a friend, auntie. 
You shall have no fault to find with me. Is he old? 

Contessa. How — old? 

Angela. Does he belong in my kindergarten, with 
Bobo Sarragossa, or in your kindergarten, with Papa 
Sarragossa? 

Contessa. Angela, you allow yourself liberties. Si- 
gnor Sarragossa is a very respectable man, and an old 
friend of your uncle's. 

Angela. And an old friend of my aunt's. Why should 
all the talk be of my pretendants? Signor Sarragossa 
is devoted to you, auntie. 

Contessa. Nonsense, child. He knows his position 
too well to venture. My grandfather bought pigs from 
his uncle. 

Angela. I suppose that to buy pigs is a sign of no- 
[23] 



A SAUSAGE FROM BOLOGNA 

bility; but to sell pigs is canaille. Auntie, if you talk 
like that, I shall elope with Bobo. 

Lucia. If you do, the Abbe Pandolfini will catch 
you. He has every intrigue in Bologna by heart before 
it has occurred. 

Angela. That Abbe is a sneak. 

Hippolito {announcing). Signor Bobo Sarragossa. 

Enter Bobo (a very young man, with blond curly hair). 

Bobo.Good morning, signora. Good morning, ladies. 

Contessa. Good morning, Bobo. 

Bobo. I am early? No? I was walking in the Corso, 
when I suddenly remembered that it was my birth- 
day— 

Contessa. Your birthday ! 

Angela. Felicitations. 

Bobo. As nobody else had remembered it, I thought 
I would give a few presents, — some bonbons for the 
young ladies, and a necklace for Fifi. It is the latest 
thing. It is made of Arabian snail-shells, — fossils, you 
know. {Calling.) Hippolito! 

Enter Hippolito with the bo?ibons and necklace, and exit. 
Contessa. But it is charming ! Where did you find it? 
Bobo. At Giulio's, — the only place. He has a stand- 

[ 24] 



ACT FIRST 

ing order to show me all novelties. I seldom pass a day 
without dropping in there. It will suit Fifi's complex- 
ion, I thought. 

Contessa. But it is charming. Angela, child, do find 
Fifi, and let us see it on her at once. 

Hippolito {announcing). The Abbe Pandolfini. 

Enter Abbe. 

Abbe. Ah, contessa! I just put my head in to ask 
how you have survived the fatigues of the carnival. 
What a day ! My homage, young ladies. Good morn- 
ing, Signor Bobo. What ardours! What — (Angela 
bows somewhat coldly.) 

Angela. One moment, Abbe. I am seeking Fifi. 

[Exit. 

Lucia. Some bonbons, Abbe ? A birthday gift from 
Bobo. 

Abbe (aside, looking at the label of the box). From 
Tartini! (To Lucia.) Thanks, thanks. (Takes several 
and puts them in his pocket.) Birthday? Whose birth- 
day? I know every birthday in the Corso. (To Con- 
tessa.) Contessa, I just popped in at old Luigi's to find 
out who was in town, you know; and what do you think! 
Prince Teleky is there, one of the greatest nobles in 
Europe, and a madman besides, Luigi says. 
[25] 



A SAUSAGE FROM BOLOGNA 

(Angela has brought back the dog, which she has 

given to her aunt. The Abbe and Lucia crowd 

around the dog with exclamations of approval.) 

Bobo (to Angela). Ah, signorina. 

Angela. Yes, Bobo. 

Bobo. Ah, signorina, if I had not known you would 
refuse it, I should have brought you also a necklace. 

Angela. Thank you all the same, Bobo. 

Bobo. Will you give me a birthday present? — may 
I call you Angela? 

Angela. Of course you may, Bobo. 

Abbe (to Contessa, while the dog is attracting the at- 
tention of the rest). Contessa, may I have a private 
word with you? 

Contessa. Apropos, Abbe, you were to tell me about 
our Benevolent Association. There is to be a meeting 
of the Apostles of the Poor to-morrow. They are to 
come here. 

Bobo (to the young ladies). Shall we walk in the 
garden? [Exeunt Bobo, Angela and Lucia. 

Abbe (mysteriously). Prepare yourself, Contessa. 

Contessa. Some one we know, Abbe? Not a married 
woman, I hope. Not old Julia Scacchi, I hope — eh? Do 
not tell me it is my old friend Julia. I warned her last 

[26] 



ACT FIRST 

year that the publicity of her friendship with that 
Spanish Viconte was causing remark. Not Julia, Abbe ! 

Abbe. Not in the least, Contessa. It is not a married 
woman at all. 

Contessa. Ah, you clever fox! 

Abbe. Watch-dog, Contessa. I protect the fold, — 
the lambs and the ewes; and, by the intervention of 
Providence, I believe I am about to avert a scandal 
in one of the most illustrious families in Bologna. 

Contessa. Abbe, you're a genius! 

Abbe. You believe in the sincerity of my friendship, 
Contessa? 

Contessa. Ah, Abbe! {Extends her hand which he 
kisses.) 

Abbe. If the disinterested devotion of years can es- 
tablish me in your confidence and lend credit to my 
words — 

Contessa (laughs). Unnecessary, my dear Abbe; I 
shall believe the worst at once. Who does not? 

Abbe. But, my dear friend, I must ask your advice. 
The matter concerns a young lady. 

Contessa. A young lady! 

Abbe. Of exalted rank. 

Contessa. Known to me? 

[27] 



A SAUSAGE FROM BOLOGNA 

Abbe. Intimately. She has had the indiscretion to 
conduct a correspondence with an unknown person, 
who has been seen under her balcony; and her family 
— most estimable gentlefolk — are in complete igno- 
rance of the alarming situation. They are persons to 
whom I am under the greatest obligations in the world 
— the greatest obligations in the world, Contessa. 

Contessa. Abbe, you are moved. You alarm me. 

Abbe. My duty to her guardians, — to society, — to 
the young lady herself, — but chiefly to her second 
mother, who is my friend and patron — 

Contessa. Mercy on us, Abbe! What do you mean? 
(The Abbe stands with bent head.) One of my nieces! 
(Abbe ditto.) Angela!! (Abbe ditto.) In my house! Oh, 
my Angela! 

Abbe. Let me entreat you, my old friend, to do no- 
thing rashly. We must observe and study till the sit- 
uation develops. Angela is headstrong, and might 
precipitate some disgrace upon the family if she were 
openly taxed with her — her unwisdom. 

Contessa. I remember now, I saw her this morning 
with a letter in her hand. So this is why she rejects 
honourable offers of marriage from distinguished suit- 
ors! But who has discovered this correspondence? 

[28] 



ACT FIRST 

Abbe {points to his breast). I saw her drop a rose to 
an individual who disappeared before I could see his 
face. But I am on his track. 

Contessa. Merciful Heaven ! On the very day when 
the Prince is coming.! {Weeps.) 

Abbe. Do you permit me to have my servant watch 
the balcony for some days? He can wear a Neapolitan 
cap and station himself unobserved in the street below. 
No one will notice him. 

Contessa. As you will, Abbe. 

Abbe. Put your confidence in me, Contessa, I will 
protect you. 



[29] 



ACT II 

The Contessa's Dra wing-Room 

At the centre of stage, at back, are double doors lead- 
ing into the corridor. On the right centre, up stage, 
is a harpsichord with the keys turned away from the 
audience. To the left of the harpsichord a large arm- 
chair; nearer the audience, a few feet from armchair, 
a chest for holding music. To the left of the entrance 
doors, a small sofa. There is another small sofa at the 
left of the stage, about halfway back. Various small 
tables, chairs, sofas, ornaments, §c, including a large 
Italian chest which stands next the wall, in the same 
part of the room. 

Enter Hippolito showing in Signor Sarragossa, a very 
large, stout man in an enormous redingote. Hippolito 
has Fifi on a mat in his arms, and while talking to 
Sarragossa he deposits her in the armchair, caress- 
ing her as he does so. 

XiippoLiTO. Madame receives. Ah, Signor Sarragossa 
it is a great day for us to-day. The young Signor 
Hector is to present himself. — There, Fifi, my pretty 
Fifi. 

Sarragossa. The young man of the will? Those tes- 
tamentary arrangements never come off in this world, 
Hippolito. You may bequeath a nephew money, but 
[30] 



ACT SECOND 

you cannot leave him a wife. That, he must find for 
himself. 

Hippolito. Ah, but to see Signor Hector again! 
When I last saw him he was so high (gesture). He 
would climb on my shoulders. He was all gaiety. If 
there was a grand dinner party, he would watch on 
the staircase. When I carried by the great silver soup- 
tureen, he would drop a cat in it. 

Sarragossa. Bravo! He will succeed — that boy. 

Hippolito. Oh, signor ! he had the disposition of an 
angel. 

Sarragossa. Would I had such a son ! — some tem- 
perament, some dramatic talent, some fire. Bobo is a 
grief to me. He is all sincerity and goodness, and no 
temperament. What one needs in this world is insin- 
cerity and dramatic fire. In his place, I should have 
married Signorina Angela long ago. Tell me, Hippo- 
lito, how does Bobo progress? 

Hippolito. Ah, signor, so-so. 

Sarragossa. I knew it, I knew it. And now comes 
this firebrand of glory to bear her away before his eyes. 
In his place — in his place. Hippolito, get me a few 
moments alone with the Contessa. You can manage 
these things so easily. Delay the young ladies, when 

[31 ] 



A SAUSAGE FROM BOLOGNA 

they come downstairs, by some gives money\ 

and leave the Contessa with me. 

Hippoiito. The signor is too good. But I must tell 
the signor that it is not a favourable moment There 
foreign prince who is expected: and the Contessa 
curbed by something. 

SarragosscL Another! The time m strike 

quickly. Shall we Bolognese stand quiet and see the 
whole earth devoured by foreign prii: res? A i ie . ) Cour- 
a^e. Rinaklo S v/ragossa! 

Hippoiito. Very well, signor. but I warn you it is a 
bad moment. 

Sarragossa. Only one thing. Hippoiito. Protect me 
from that peeking scoundrel, the Abbe Pandolfini. If 
he puts his nose in the hous-. give me warning. Break 
a plate before you announce him. I will pay for the 
plate. 

Hippoiito. I will do my utmost, sign 

[E.rit Hippoiito. 

Sarragossa-One, — two. | He practises takinga stride 
and fatting on one knee.) Too near. One — two. My 
hand hanging thus: my head bent at first, but after- 
wards writhing itself to look in her face, as my soul 
pours forth its torrent. {Rises.) Bobo is afraid of the 

[32] 



ACT SECOND 

nobility. He forgets that they are human beings, whose 
hearts throb, whose passions surge, whose natures 
glow — 

Enter the Contessa. 

Contessa. I can't think what has became of Fifi. 
Why, Sarragossa, I am receiving the nobility this 
afternoon. What brings you here? 

Sarragossa. Grief, signora. 

Contessa. Grief? What grief can you have, except 
over forgetting to take two helpings of sauce when 
you dined with the Archbishop? 

Sarragossa. You would not jest if you knew the 
truth. I am leaving Bologna. 

Contessa. To go fishing in Carnia? 

Sarragossa. No, no — not to go fishing. For good, 
Contessa. 

Contessa. Leaving Bologna! 

Sarragossa. Leaving these beloved scenes of my 
youth, — this city where every stone is sanctified by 
some memory of happiness ; this house which I can- 
not think of without a glow of gratitude. 

Contessa. Why, Sarragossa, I did not know you had 
so much sentiment. 

Sarragossa. I did not know it myself. I thought I 
[S3] 



A SAUSAGE FROM BOLOGNA 

could say the word, and it would be done. I thought 
to pluck a frail flower out of my memory; and, Con- 
tessa, the roots of it tore my heart in two. Good-bye. 

Contessa. You do not mean it, my friend, surely. 
When do you go? 

Sarragossa. To-night — immediately. 

Contessa. And with no explanation of this — this 
singular conduct ? 

Sarragossa. Do not ask me. I seek only to spare 
both of us. I intrude, I know it. Even in these last 
moments of a delicious intercourse, I intrude. We 
must part without explanations, which would be 
agonizing to me, painful to us both. Your guests are 
on the threshold. I ask forgiveness. Good-bye! 

Contessa. Signor Sarragossa, you distress me. We 
cannot part thus. 

Sarragossa {giving a quick look at the Contessa and 
then sotto voce). One — two. {Falls on one Jcnee. His 
words become more and more rapid, till they are a tor- 
rent.) Ah, Teresa, Teresa, little did I dream, while 
allowing my soul to sip the innocent nectar of friend- 
ship, that I was taking a poison into my bosom that 
would corrode, would grow to a burning conflagration, 
a holocaust of my whole being which, like a tornado, 

[34] 



ACT SECOND 

a volcanic, infernal whirlwind of fire, would drive me 
reeling across the world. Look at me, Teresa! Let me 
carry that image with me into my desolation. 
Contessa. Signor Sarragossa, control yourself. 
Sarragossa. I will, — I will. {Using his handker- 
chief.) Ah! say you give me hope. 

Contessa. I — I do not withhold it. Rise, my friend; 
they are coming. Rise quickly. 

{Sarragossa rises so quickly that he loses his balance, 
and sinks backward into the armchair, upon Fifi. 
When he feels his contact with the dog, he makes 
convulsive efforts to arrest the descent. A low pro- 
longed squawk is heard, and then silence. Sarra- 
gossa has an impulse to rise, but retains his self- 
control.) 

Contessa. What was that? 

Sarragossa {after a superhuman effort). Nothing. I 
heard nothing. 

Contessa. It was like the cry of a young child. 

Sarragossa. In times of deep emotion we hear 
sounds that are not. They are prefigurations, — em- 
bodiments, — mysteries, Contessa. When our ears are 
sharpened to the infinite — {The sound of a plate 
breaking is heard. Both start violently, and the Contessa 
utters a slight scream. A pause. Then:) 

[35] 



A SAUSAGE FROM BOLOGNA 

Hippolito {announcing). Monsieur the Abbe Pan- 
dolfini. 

Abbe. Ah! I am the first. It was intentional, Ma- 
donna. I have a word for you. {She has moved toward 
the Abbe, keeping in line between the two men.) What 
do you think? But you are moved. You are distressed. 
This incident is wearing upon your nerves. {Offers to 
take her hand. She holds up her finger to the Abbe as 
she steps aside.) 

Contessa. Monsieur TAbbe — Signor Sarragossa. 

Abbe {aside). The brute has been annoying her. {To 
Sarragossa.) Good afternoon, Sarragossa. You are at 
home here, I see. 

Sarragossa {feigning an attempt to rise and put- 
ting his hand to his back, as if in pain). Forgive me, 
Abbe : a touch of sciatica. In a moment it will be gone. 

Abbe. Apoplexy! Apoplexy, my friend! You are 
seriously ill. You have had a seizure, an acces of some 
sort. I see it by your complexion. 

Contessa {who is arranging the flowers, without look- 
ing round). Are you ill, Signor Sarragossa? 

Sarragossa. Not in the least, Contessa. I demand 
pardon a thousand times. A mere spasm. In a moment 
I shall recover. 

[36] 



ACT SECOND 

Contessa. Monsieur PAbbe, have you more news of 
Prince Teleky? 

Abbe. Apropos, I hear he is a great amateur, and has 
already begun organizing a Shakespeare revival. Gia- 
como has seen him, and has joined the movement. 
{Enter Angela, Lucia and Giacomo. Abbe to Giacomo.) 
You must leave your Lucia for a moment and tell us 
about the new dramatic movement. 

Giacomo. Why, the man is a great genius. {He joins 
the Abbe and the Contessa, and continues to talk to them 
in dumb-show.) 

Angela {to Lucia.) I do not intend to look at my 
cousin when I am presented to him. It is enough if 
he looks at me. What a system ! This is civilization ! 
You expose the young woman to the glances of the 
young men for approval! This is delicacy. This is 
modesty. And this {showing the poem, closely folded 
in her hand) — this is sin. I will hold it in my hand 
like some sacred blossom, and smell of it during the 
interview. 

Lucia. Do not overdo the part, or you will arouse 
suspicions. 

Giacomo {looking out of the window). Bononcini is 



arriving ! 



[37] 



A SAUSAGE FROM BOLOGNA 

Contessa. Abbe, will you kindly take your place be- 
side me ? Angela and Lucia, there — that will do. Gia- 
como, you are not of the family. You can talk to Si- 
gnor Sarragossa. (He does so. Sarragossa greets him 
cordially, and explains his maladies in dumb-show.) 

Hippolito (announcing). Signor Hector Bononcini. 

Enter Teleky. He is extremely ill at ease. 
Contessa (to Teleky). Welcome, our cousin Hector, 
to Bologna. 
We long have looked for you. I know your life, 
If rumour tell the tithe of what is true, 
Has not been all domestic; yet I dare 
Throw open your ancestral hearth to you, 
And bid you welcome. Welcome to Bologna. 

Teleky (bows). I shall endeavour, aunt, to thank 
you rather 
With conduct than with words; and if my life 
Prove half so gracious as your greeting is, 
I shall acquit me well. 

Angela (to Lucia). Wheedling impostor. 'T is his 

latest role. 
Contessa. These are my nieces. This is Angela. 
I will not speak of business in this hour. 
You know, your uncle was her uncle too ; 
[38] 



ACT SECOND 

And in his will — 

Teleky. Lady, I understand 

The worldly history. 

Contessa. This, my other niece, 

Lucia. (To Giacomo.) Signor Giacomo, attend! 
Mv niece Lucia's betrothed. 

Teleky. Well met, and welcome. 

Contessa. The Abbe Pandolflni. 
Abbe. I am charmed. 

(To Contessa.) A somewhat gloomy youth, I must con- 
fess. 
Contessa. It seems to me completely natural 
Considering his birth. He lacks the usages, 
Like all his people. Shall we be humane 
And leave him time to thaw? He's not so bad, 
And certainly belies his reputation. 

(The Contessa and Abbe retire and occupy the sofa 
at the back. Giacomo and Lucia have occupied the 
sofa at the left. Angela and Teleky are thus left 
standing at the front of the stage, looking at each 
other's feet, in fidgety silence. They raise their eyes 
simultaneously, and Angela starts violently. They 
converse in stage whispers.) 

Angela. Who are you? 

Teleky. One who wandered in the night, 

[39] 



A SAUSAGE FROM BOLOGNA 

And found a star. 

Angela. What brings you here? 

Telehy. The power over all 

That leads us to ourself. 

Angela. You are my cousin? 

Teleky. Lady, I dare not kneel. I am not he. 

Angela. Thank God for that! 

Teleky. But found his name a key 

To let me through to all divinity. 
My race is known; I am a gentleman, 
And free in my estate to ask your hand. 

Angela. Oh, bring it not in question, gentle youth. 
Speak not of marriage. Did you know my name 
When you did stand beneath the balcony? 

Teleky. No more than angels know the name of God, 
Feeling his influence. 

Angela (aside). O guiding Heaven, 
That steer'st the constant stars, break not this dream ! 
(To Teleky.) I would not, sir, 
Have you misknow me. Many find me harsh; 
For the embittered virgin only knows 
What heat she hides. I pray you, sir, take heed. 
If in this cup there is a drop of poison, 
I shall go mad. 

[ 40] 



ACT SECOND 

Teleky. It is the wine of life 

Flooding my soul; how can it poison yours? 

Angela. Sir, I have longed to meet a human soul, 
Dissociate from the trammels of this world, 
The give and take of lies, the tinge of tact 
And daily basenesses of daily life. 
Tell me not who you are before I ask, 
That I may keep you as a sacrament, 
An unnamed wonder and a mystery, — 
That birthright of each rough-hand peasant girl 
That makes her glory. 

Where two are housed within one sole disguise 
And walk invisible, their souls may meet, 
As if in heaven. I pray you, keep it so 
Some little while, till we do know each other. 

TeleJcy. It shall be as you will. 

Angela. But we must show 

A natural behaviour. (Aloud.) Cousin Hector, 
How is it that we never heard from you ? 

Giacomo (to Lucia). Under this mild exterior! Ha, 
ha, ha ! Beneath this sanctimonious, timid sobriety ! Ha, 
ha, ha! A Lothario for Angela at last! Too good, too 
good. But he is a blessing; he will be the salvation of 
all of us. He must be spoon-fed and encouraged. (Looks 

[41 ] 



A SAUSAGE FROM BOLOGNA 

toward Teleky.) Ah, you wicked Don Juan! {Looks 
toward the Contessa.) In our house! 

Angela (rising, and to Lucia, who joins her). I find 
that our cousin has forgotten Bologna as completely 
as if he had never been here. 

Lucia. Ah, indeed ! Why then we shall have the op- 
portunity of showing him all of our society as if he 
were a foreigner. {Giacomo is approaching, still laugh- 
ing inwardly.) 

Angela. We have the buildings — 

Lucia. And the people — 

Giacomo. And the University! {Exploding and 
poking Teleky in the ribs.) Ah, you wicked Don 
Juan! 

Teleky. Sign ore! 

Angela. For Heaven's sake, Giacomo ! 

Giacomo {in a low voice). Don't misunderstand me. 
I lay my life at the service of you both. 

Contessa {to Abbe). I told you that if we left the 
young people to themselves they would soon become 
acquainted. They behave like old friends already. I 
am glad to see that Angela is acting like a lady. 

Giacomo {to Teleky). In the first place, let me ex- 
plain to you the individuals on the sofa. The lady ex- 
[42] 



ACT SECOND 

plains herself. You have only to continue as you have 
begun, — deference, humility, sadness. {Explodes again 
and nudges him.) Excuse me, I cannot help it. The 
Abbe, on her right, is a damnable roof-cat, who gets 
his living by stealing cold chicken livers. As for the 
family, you will have to read up a little. But let me tell 
you that your great-uncle Ludovic Bononcini was 
half brother to Joseph Maria Pozzi, or Pozzuoli. The 
Pozzi and the Bononcini have been allied for centu- 
ries. Some say that Sforza Pozzi came from Milan in 
the twelfth century, and was a contractor for build- 
ing sewers. At any rate, the sewers are here. The arms 
are a spade fossant, and a man up to his knees in mud ; 
but whether he is getting out of the mud, or going 
into the mud — that is the question. 

{Sarragossa has, during the foregoing proceedings, 

been sunk in profound melancholy. The audience 

must for get him. When Giacomo begins to talk about 

genealogy — and not before — Sarragossa, seeing 

that he is unobserved, reaches out his toe with the 

utmost stealth, and lifts the lid of the music-chest. 

He then gradually stands up, and is edging himself 

towards the chest, holding the dog behind his back, in 

his right hand. He has almost reached the place of 

safety, when Giacomo sees him, and imagines that he 

is coming forward to be presented.) 

[43] 



A SAUSAGE FROM BOLOGNA 

Giacomo. Ah ! but I forgot our friend Signor Sar- 
ragossa, an old family friend. 

Sarragossa {giving his left hand). Delighted! Par- 
don, — rheumatism, — a martyr. Nevertheless, with my 
heart I extend all hands to you, my dear sir. 

Hippolito {putting his head in at the door). Prince 
Teleky is coming up the steps! {Everyone turns to- 
wards the door. Sarragossa seizes the moment to de- 
posit the dog in the chest and shut the lid.) 

Sarragossa {aside). Safe! {He arranges his collar 
mops his brow, and rests.) 

Hippolito {announcing). Prince Teleky. 

Enter Hector in Hungarian costume. 
Contessa {curtsies). Prince Teleky, your father was 
my friend 
Many years since. I gladly would repay 
Half his old kindnesses to me and mine 
By welcome to his son. {She extends her hand.) 
Hector. Is this enough? My father loaded me 
With messages that wore a warmer tinge 
(Sending me to your bosom as a son), 
Which, with your modest leave, I will deliver. {Offers 

to Jciss her.) 
'Tis a Hungarian custom with old friends, 
[ 44 ] 



ACT SECOND 

And has a rustic beauty. 

Contessa. Truly, sir, 

If youth be your excuse, age shall be mine. {Kisses 

him.) 
{Aside.) A more enchanting prince I never saw. {She 

talks to the Prince.) 

Teleky {aside). What will he do? {To Angela.) My 
soul, my heart of love, 
It hurts my honour thus to play a game 
In which I steal a name from someone else. 

Angela. Love, on your life, no more! Have you not 
sworn? 
Would I for you not steal a vagrant name 
Or act a drama? If you break the spell 
Our happiness breaks too. 

Contessa {introducing). My niece Angela, my niece 
Lucia. My cousin, Hector Bononcini — 

Hector {to Contessa). Ah, Hector Bononcini. I have 
heard of him. Who has not? A breaker of hearts! A 
wild, turbulent fellow who has run through three for- 
tunes and is now, they say, in search of a third. Most 
interested to meet him. {Puts up an eyeglass, and ex- 
amines Teleky.) 

Contessa. I leave you in good hands. {She returns 

[45] 



A SAUSAGE FROM BOLOGNA 

to the door to greet Pietro and Rufredo andBobo, who 
are arriving. Angela, Giacomo and Lucia talk together 
in dumb-show.) 

Teleky (to Hector in ajierce whisper). This has gone 
far enough. Think who you are ! What uniform you 
wear! 

Hector (to Teleky, ditto). And do you remember 
that you are in the shoes of Hector Bononcini, who 
has the name of not being a milksop, and who doesn't 
enjoy looking like a sick calf. 

Teleky (as before). No more Hungarian customs, if 
you please. 

Hector. Why, you puppy, you may attend to your 
own affairs, I suppose. (Teleky moves over and talks 
to the Abbe and Sarragossa, Hector to the young ladies 
and Giacomo.) 

Hector. Long have I hoped to have this happiness, 
For, you must know, Bologna is a place 
That throws its shadows out like fairy land 
O'er our imagination in the North. 
Its wealth, its beauty, its romantic name, — 
This lady will forgive me that I know 
She is a cynosure to venturous barks — 

Angela (to Hector). Your pardon, sir, 

I see my aunt requires me. Did she not, 
[46] 



ACT SECOND 

I still should flee from such impertinence. {Angela 
joins the Contessa.) 

Hector (to Giacomo and Lucia). Well, how goes it? 

Giacomo. Lightning and gunpowder. They have been 
standing like two dying swans that sing madrigals to 
each other. They were in love at first sight yesterday, 
and to-day they are swimming in the madness of bliss. 

Hector. Why, the thing is done! He has only to 
declare himself and offer her his hand in honourable 
marriage. I shall return to Paris to-night, and wait 
there till I learn that Angela is safely married. 

Giacomo. No, no, no! 

Lucia. Honourable offers of marriage are poison to 
her. 

Giacomo. She would throw him over ! She would dis- 
cover that he was a fortune-hunter and a worldling. 

Lucia. You do not know my sister! 

Giacomo. We have had three years of her! Be ad- 
vised by us. She must never know that he is a good 
parti till she is firmly engaged to him. 

Hector. But how, — but how ? He will declare himself. 

Giacomo. Beseech him not to. 

Hector. But how, — but how? 

Lucia. They must elope. 

[47] 



A SAUSAGE FROM BOLOGNA 

Giacomo. It would help greatly if you could make 
love to her. 

Lucia. Apply for her hand to our aunt. 

Hector. It might be done. There is nothing between 
me and my happiness except the will of this obstinate 
girl. She shall elope ! 

Giacomo. It must be done, my friend; it is our only 
chance. 

Hector. Wait, wait! We must have something to 
facilitate an elopement, — some grand diversion, — 
something upsetting and extraordinary. I have it. The- 
atricals! They are my role. We will give a Shake- 
spearean performance. We will all meet here to-mor- 
row afternoon. If there is anything that stimulates dis- 
order and unreason, it is private theatricals. It shall all 
be impromptu. I will bring the actors and the cos- 
tumes. It shall be a surprise party. You get Teleky 
invited to stay in the house, and leave the rest to me. 

Giacomo. Divine! 

Lucia. Inspired! Come, shall we have some music 
now? I will organize it. (She crosses the room.) Mon- 
sieur TAbbe, will you not play my accompaniment? 
(At the suggestion of music Sarragossa has pricked up 
his ears.) 

[48] 



ACT SECOND 

Sarragossa. Ah, music ! How enchanting! I will find 
the songs. {He occupies the music-chest and fumbles in 
it, pulling out songs and offering them to Lucia.) 
Which will you have, mademoiselle? "Dove Sono" — 
"Porgi Amor"? 

Lucia. None of those. Let me find it. 

Sarragossa. Not for the world. I insist. 

Lucia. It is at the bottom, — a red cover. 

Sarragossa. At the bottom — at the bottom. Here 
it is. {Hands it to her.) 

Abbe {taking his seat at the harpsichord. To Sarra- 
gossa). Are you all right again? 

Sarragossa. Pretty well, pretty well. {Sits on the 
music-chest. Lucia sings an old Italian melody. At the 
close there is a buzz of approval: "Charming" "How 
sweet" Sec. People move about. Teleky and Angela thus 
find themselves together on a sofa. The Abbe is play- 
ing soft) preliminary chords ', and Lucia is occupied in 
examining a page of music.) 

Angela {to Teleky). Sir, I have kept your verses in 

my bosom. 
Teleky. I was ashamed to send them. 
Angela. A great flash 

As of Apollo's lyre rings out of them. 
You are a poet. 

[49] 



A SAUSAGE FROM BOLOGNA 

Teleky. No, sweet saint, a lover. 

(She takes his hand, but quickly withdraws her own.) 

Angela. All things begin to beckon and to move. 
The lilting cadence of that sweet old song, 
Which yesterday was threadbare, seems to stir 
The sleeping roots of some surrounding music. 
Do you not feel it? It is everywhere. 

Teleky. I feel the power of a great command 
Behind my being. 

Angela. This familiar room 

Was empty, strange, and hostile till to-day, 
And all these genial people, enemies. 
To think such new worlds live within the old 
And we not find them ! Think you that Lucia 
Takes the habitual ecstasy for granted, — 
Or does not feel it? 

(The song is about to begin when enter Hippolito in 

great excitement.) 

Hippolito. Signora, Fifi has disappeared! (The Abbe 
makes a discord. Sarragossa starts violently, but re- 
gains his composure.) I have searched everywhere. 

Contessa. Fifi, my Fifi ! My beloved Fifi ! 

Hippolito. A strange individual has been seen lurk- 
ing beneath the balcony to-day. Now he is no longer 

[50] 



ACT SECOND 

there, and Fifi has disappeared! 

Contessa. Bobo, run at once to the police. 
Hippolito. The necklace alone is worth forty scudi. 
{Great excitement and confusion, everyone making 
suggestions at once. Exit Hippolito.) 

Hector. Your ladyship will permit me to accom- 
pany our young friend to the police. I may be of some 

service. 

Contessa. Ah, Prince, how kind of you. 

Hector. The animal will be found of course. {To 
Lucia.) But it is a pity our song should be spoiled. 
{He makes his adieus, honing distantly to Angela. The 
other guests prepare to go.) 

Sarragossa. It will be found of course. {Aside.) It 
liill be found, and its condition will be evidence 
against me, — crushing evidence. (Sinks into thought.) 

Contessa {to Teleky). A sad contretemps, signor; 
but I must call you Hector. Adieu till to-morrow. We 
shall expect you to move to us from your inn in the 
morning. 

Sarragossa {making his adieus). Ah, my dear friend, 
what anguish! Call on me for anything. 

Contessa. Thank you, my friend. 

Sarragossa (going). Have I your permission to bor- 

[ 51 ] 



A SAUSAGE FROM BOLOGNA 

row that beautiful song "Amore Segreto"? 

Contessa. Certainly, — anything. 

{Pietro and Rufredo are now making their adieus. 
Sarragossa approaches the music-chest, his face to- 
wards the audience, his back towards the group. He 
pulls the dog from the box, and rolls it up in a song. 
The head sticks out. He rolls it up in another way. 
The tail sticks out. He mops hisforehead. He glances 
behind him. Suddenly, by a bold movement, he swings 
the dog into the breast of his coat, puts a roll of mu- 
sic under his arm, and steers himself towards the 
door.) 

Sarragossa {aside). Courage, Binaldo Sarragossa! 

[Exit. 
Angela {aside). Till to-morrow! 

[Exit with a tragic gesture by a wing. 

Lucia {to Giacomo). What a tea-party ! 

Giacomo {to Lucia). I did not dare to look at her. 
[ Exeunt by a wing. The Contessa sits down and 
puts her handkerchief to her eyes. The Abbe 
poses near to console her. 

Contessa. My poor Fifi. 
Abbe. Ah, indeed. 
Contessa. On any day but this! 
Abbe. Ah, indeed. 

Contessa. Some malignant influence is in the air 
[52] 



ACT SECOND 

to-day. Everything happens strangely. My nerves are 
affected. I fear something. 
Abbe. I feel it myself. 

Enter ) with mystery ', Hippolito. 

Hippolito. Madame! 

AbbL 1 

\ What is it? 
Contessa.) 

Hippolito. It is not he! 

AbU. 



* i. 

itessa.) 



.What! 
Contessa, 

Hippolito. Signor Hector — is not — Signor Hec- 
tor! 

Abbe. What do you mean? 

Hippolito. It is not the boy ! It is not Hector ! 

Abbe. Come, come, Hippolito, you have not seen 
him for fifteen years. 

Contessa (to A bbe). Hippolito is affected, like the rest. 

Hippolito. Ah, signora, / not know my little Hec- 
tor ! (Coming very near and raising his voice.) But I 
would know the scar on his ear, would I not? This 
one has the ears of an ourang-outang ! 

Contessa (utters a slight scream). Abbe, it is a con- 
spiracy ! 

[53] 



A SAUSAGE FROM BOLOGNA 

Hippolito. I would swear it, I would swear it ! Bring 
me before the court of justice! I asked him if he re- 
membered breaking his leg in the tank. Could a boy 
forget that? He fled, madame. He fled — he fled. 
{Hippolito sidles across the room as he says this, imi- 
tating criminal flight. The Countess is terrified by 
the exhibition, and almost puts her hand on the 
Abbe's shoidder as she watches it.) 

Abbe. We are in the presence of something mon- 
strous, — something overshadowing. But put your 
trust in me. I will protect you. 



[ 54] 



act m 

SCENE FIRST 
The Room at the Inn 

Hector ; Giacomo, Pietro, Rufredo, Sarragossa and An- 
drea. The room is in confusion. Stage properties are ly- 
ing about, — hats, wigs, costumes, boots and trumpery. 
Hector is sitting before a table covered with papers; as 
he talks he makes memoranda upon his lists. 

JriECTOit. A most inspiring session. {Looks at hiswatch.) 
But we must break up. Signor Sarragossa, you will be 
responsible for the wigs and swords. Here is a list of 
them. Giacomo, you will see to these details. We must 
have a few extra costumes : they are sure to be needed. 
Cinque-cento is the safest. 

Giacomo. Scipio, in the old market, has a doge's cos- 
tume of the trecento which is very fine. 

Hector. Excellent. Let 's have it. 

Sarragossa. There must be blood on Caesar's toga: 
mind you that. I cannot do it without the blood. 

Hector. See to it, Giacomo; red ink will do. Spare 
no expense : the public demands it. Pietro, you insist 
on Othello ? 

Pietro. Othello suits my physique. I have never acted 

anything else. 

[55] 



A SAUSAGE FROM BOLOGNA 

Hector. Good. — Rufredo? 

Rufredo. Shylock, please. 

Hector. Certainly. — Giacomo? 

Giacomo. Oh, a fool, one of the fools, any fool. 

Hector. Good. Bobo will prompt. Teleky and Angela 
are provided for, — Romeo and Juliet. {Laughter.) 

Giacomo. The worse he acts, the better it will be. 
It is going to be thrilling. 

Hector. But you must all go now. I have only time 
to throw the lines together. Good-bye till three o'clock. 
Signor Sarragossa, I congratulate you. As Mark An- 
tony you are great. 

Sarragossa {who has been barnstorming in dumb- 
show). It is the passion of my life ! 

Pietro. Till three o'clock. 

Giacomo A 

I Good-bye. 
Rufredo. J 

[Exeunt Giacomo, Pietro, Rufredo and Sarra- 
gossa. 

Hector {to Andrea). It will be a unique perform- 
ance; I am going to let every man take his favourite 
part. Sarragossa would make a splendid Iago, but he 
insists on Mark Antony. 

Andrea. He was magnificent. He makes my blood 
[56] 



ACT THIRD 

run cold. — But, signor, why these distractions? 

Hector. They are not distractions. They are busi- 
ness, you blockhead. I am building a bridge. I shall 
march back to Paris across it, and find my Julia at 
the end. Andrea, beneath all the external gaiety I am 
thinking of her. Ah, to see her again! 

Andrea. You will see her very soon. 

Hector {dreamily). You think so, Andrea? 

Andrea. She is in Bologna. 

Hector. Murder and sudden death! How do you 
know it? Why didn't you tell me before? 

Andrea. I did not know it before. I saw her pass the 
window half an hour ago, in a caleche. She stopped at 
the hotel; she made inquiries; she passed on. The si- 
gnori were here. 

Hector. Put up those things ! Get my valises ready ! 
No, I will not fly ; in fact I cannot. Had I but twenty- 
four hours more ! But it can be done, even now. It can 
be finished before she overtakes me. If only that ass 
Teleky were a man ! But no ; he is all honour and sen- 
timent ! He will not elope — he ! He is too high-minded 
to take advantage of a young girl — the sickly sonnet- 
eer ! He shall elope ! Giacomo is right. I must apply for 
her hand. Let him look to his laurels when I take the 
field against him ! r 57 "1 



A SAUSAGE FROM BOLOGNA 

Andrea. Sorrows of the saints, my master! What 
excitement are you in? 

Hector. Go, you skulking clod, and watch below. If 
there is any sign of that caleche, report it. {Exit An- 
drea, shaking his head and wringing his hands.) I have 
one drama to write, — another to enact. 

{Sits down and writes.) 
"Madam, it is with a beating heart that I make known 
to you the true purpose of my journey to Bologna. 
This was to assure myself of the respect of your niece 
Signorina Angela, and to have knowledge of her ex- 
cellence and beauty, before making a formal applica- 
tion for her hand. Have knowledge {correcting the 
page) — independent of report — concerning her excel- 
lence and beauty. My friend has just informed me of 
the gaieties which he is instituting for this afternoon 
at your palazzo; and it will give me the greatest 
pleasure to pay my homage to you and to the young 
lady at the time appointed." Now for a fair copy. 
{Takes another sheet. Copies and talks.) By this letter 
the mind of the Contessa will be unsettled. The Con- 
tessa will prefer the Prince to the Cousin. The Con- 
tessa may be counted on to do something which will 
irritate Angela and insult Teleky. Good. Somehow I 

don't like signing another man's name. But how else 
[58] 



ACT THIRD 

save him? (Signs.) "Stephen Teleky." (Enter Andrea 
with a note which Hector opens, turning to the signa- 
ture.) From Lucia. (Reads.) "Courage and firmness! 
My aunt and the Abbe have grown suspicious. They 
are planning to ask questions. They doubt the identity. 
I think Hippolito is at the bottom of it. Use discre- 
tion. Above all act quickly. Lucia." 

Hector. All will be lost! Andrea, who brought this 
note? 

Andrea. A private servant, signor. 

Hector. Send him up ! (Exit Andrea. Enter Hippolito. 
Hector looks narrowly at him.) So it seems that some- 
thing unpleasant has occurred. 

Hippolito. Yes, your highness. 

Hector. Some doubts? 

Hippolito. Yes, your highness. 

Hector. Some disbelief? The signorina tells me that 
you know something about this. 

Hippolito. There is no doubt. It is not he. I swear 
it ! Produce me ! 

Hector. The other was younger. 

Hippolito. Yes, your highness. 

Hector. Handsomer. 

Hippolito. Yes, your highness. 
[59] 



A SAUSAGE FROM BOLOGNA 

Hector. Gayer, wittier, more full of jokes, tricks, 
escapades, runnings away, fallings down, and jellies 
in the pantry. 

Hippolito. You knew him! O Prince, he was an 
angel. I weep when I think of him. He climbed the 
apple tree — 

Hector. Above the tank — 

Hippolito. And fell and broke his leg — 

Hector. And was four weeks at old Hippolito^s farm- 
house getting well! 

Hippolito. Is your highness a magician? 

Hector. Do you not know me, Hippolito? 

Hippolito. What! O heavens, heavens! It is my little 
Hector. {Embraces him. Then with sudden suspicion.) 
No, no, I will not be deceived twice. Let me see the 
ear! {Examines it.) It is he, it is he! {Pats and strokes 
Hector. Again, with sudden suspicion.) And the other? 

Hector. My friend ! My comrade, who is to wed Si- 
gn orina Angela. It is all a joke between us. He is one 
of the greatest princes of Europe, and one of the worst 
actors. It is all a joke, Hippolito. But we couldn't 
deceive you, Hippolito. 

Hippolito. As if anyone could deceive me about my 
little Hector! 

[60] 



ACT THIRD 

Hector. But you must keep the secret, or the match 
will be ruined. You must help us. You must identify 
him. You must — embrace him! 

Hippolito. I cannot. He is too cold. 

Hector. You must, Hippolito. You must pet him and 
call him love-names. {Hippolito makes a wry face.) 
And everything he says, you must corroborate. And 
everything you say, he must corroborate. 

Hippolito. I will try, signor. 

Hector. Everything depends upon it. Hippolito, you 
are intelligent : I will explain to you. Our Signorina 
Angela is romantic. 

Hippolito {rolling his eyes). Ah, signor. 

Hector. Poetical. 

Hippolito. Ah, signor. 

Hector. Ecstatic, mystic, living in the world of 
dreams — 

Hippolito {wiping his eye with his sleeve). She is indeed. 

Hector. She is in love with this friend of mine, dead 
in love, melting, molten, disgustingly in love. Did you 
ever see such love? 

Hippolito. Yes, indeed. 

Hector. And he is in love with her. 

Hippolito. With those cold manners ! 
[61 ] 



A SAUSAGE FROM BOLOGNA 

Hector. Yes, he is, Hippolito. He is frozen into a 
paralysis of Hungarian love. 

Hippolito {seeing light). A-a-a-ah ! ? 

Hector. And now Angela demands a robber to carry 
her off. Nothing else will satisfy her. 

Hippolito. A-a-a-ah!? 

Hector. They must rise and fly. Hippolito, you have 
seen the way they make pheasants rise? Yes. They 
drive them forward and backward with hue and cry 
(suits action to words). The pheasants run between the 
beaters' legs and hide in the underbrush. What then? 
They erect a fence in the underbrush and drive the 
pheasants towards it. Up go the pheasants. (Gesture.) 
So it is to be with these lovers. I am driving them 
backwards and forwards till they become exasperated 
and exhausted. Then, up and away they will go ! 

Hippolito (in ecstasy). A-a-a-ah!! 

Hector. I have a sort of chari-vari this afternoon at 
the Contessa's, to stir them about with, — to make life 
exciting for them, — to show them that Bologna is not 
the place for them. It is not quiet in Bologna. It is 
tumultuous. You understand? 

Hippolito. Oh, my master, this is like the olden days. 

Hector. Now you must make all things go smoothly. 
[62] 



ACT THIRD 

No matter what happens, say that Signor Hector has 
ordered it so. Ha, ha, ha! 

Hippolito. Ha, ha, ha! 

Hector. And can you manage to have a chaise and 
pair waiting all the afternoon in the back alley? Some- 
thing may come of it. It will simplify matters to have 
the carriage in waiting. 

Hippolito. Of course. 

Hector. Now go quickly. Someone is coming up the 
stairs. Stay! A letter for the Contessa. {Gives it to 
him.) Above all remember to fawn upon — upon the 
other Hector. 

{Hippolito is going out. Enter Teleky 9 shrouded in 
deepest gloom.) 

Hippolito {looks at Teleky with disgust and says 
beseechingly to Hector). Not this time, signor. 
Hector. No, not this time; but next time. 

[Exit Hippolito. Teleky goes to a chair and sits 
down. 

Hector. Well? 

Teleky {says nothing). 

Hector. Well? 

Teleky {says nothing). 

Hector. Well, was it your girl? 

[63] 



A SAUSAGE FROM BOLOGNA 

Teleky. You know it was. 

Hector. Then what have you to complain of? 

Teleky. Of what are you Italians not capable ! A civ- 
ilization of mountebanks ! I have come to break with 
it. I owe you no allegiance, but I would not break my 
word except upon an explanation. I shall declare my- 
self. I have lived in torture since I met you. I am be- 
come an object of suspicion; a mystery in the drawing- 
room, a jest in the servants' hall, a sinister figure to 
myself. I am not fitted for these brutalities. You will, 
sir, take notice that the jest is ended; and a little 
later I shall look to you for the reparation usual among 
gentlemen. 

Hector. Go on. 

Teleky. I have finished. 

Hector. Am I to understand that this is a challenge ? 

Teleky. You are, sir. 

Hector. Very good. I hold myself in readiness. Never- 
theless, you will permit me to make one or two obser- 
vations with the hope that they may have some signifi- 
cance in that higher civilization to which you belong. 

Teleky. As you will. 

Hector. I ask you to observe that I bear a relation 
of some responsibility to the household into which you 

[64] 



ACT THIRD 

have been introduced. You are a stranger whose whole 
reputation here depends upon my word. You have, 
through me, been enabled to continue an intrigue, 
and carry it I know not how far, or with what conse- 
quence to the heart and reputation of a young lady 
who is my cousin. 

Teleky. Sir! 

Hector. I say, sir, that there are other possible causes 
for a duel between you and me besides those which 
you name. Are your intentions honourable? 

Teleky. How dare you speak of honour! You know 
they are honourable. You know that what grieves me 
most in all this is that I see the sanctity of a young 
lady's nature being exposed to outrage. 

Hector. Through whom? 

Teleky. Her soul exposed to vulgar ridicule. 

Hector. Through whom? 

Teleky. I do not excuse myself. I am grievously to 
blame. But it shall finish. 

Hector. Through marriage? 

Teleky. Through marriage. 

Hector {grasps his hand). My dear fellow, I con- 
gratulate you. I knew I could not be mistaken in you. 
The young lady consents? 

[65] 



A SAUSAGE FROM BOLOGNA 

Teleky. Not exactly. 

Hector. Not exactly? But it is an occasion where 
exactitude is required. 

Teleky. When I propose it she sheers away, as if 
the time for decisions had not yet come. God forgive 
me that I tell you this. 

Hector. Why, my dear friend! Come, you are worn 
out. You people of the North are all fire and brimstone, 
and burn yourselves to ashes. You do not understand 
us in Italy e Come, sit down. You are in love. You need 
help and council, not duels ; and if there was ever a 
man fitted to give you honest aid, — a man who wants 
to see you honestly married to this girl, — it is Hector 
Bononcini. You believe that? 

Teleky. I try to believe it. But in your carnival 
game I feel that I am somehow one of the pieces. I 
should not be wholly surprised if I found that you 
were trying to marry the girl yourself. There, I con- 
fess it. 

Hector. Good. But would she marry me? No — you 
are sure of that. Sit down. You need a glass of wine. 
{Pours one out.) Now let me talk to you. She will 
not marry anybody. (Teleky starts.) You are a for- 
eigner. Now let me tell you that there exists in Italy 

[66] 



ACT THIRD 

a well-known type of woman whose romanticism — 
precludes marriage. Do not be startled — precludes 
the ordinary forms, modes, fuss, and machinery of so- 
cial unions. Had you been an Italian, you would have 
understood this instinctively. You would have been 
over the back-yard wall and in Venice together by this 
time, — married on the way. 

Teleky. The thought is revolting to me. "Over the 
back-yard wall," like a criminal. 

Hector. Do not be critical. You are in the presence 
of a natural phenomenon. If you insist on etiquette 
and convention, you will become the last rejected 
suitor of la Furia di Bologna. It is her weakness, her 
fate, her calamity. How have you won her thus far 
but by obedience to the higher law of her nature? 

Teleky {mutters). It is true. 

Hector. She clings to you. She fears that you will 
betray her, as the rest have done. She is Andromeda 
on the rock waiting for her Perseus. Are you he ? Or 
will you break into visiting-cards and worldly wisdom, 
into lands, houses and titles? She is rich; there is the 
poison. Oh, the poison of money ! It corrupts everyone. 
It has left a sort of wound of insanity on her. There 
is no denying this : it is true. 

[67 ] 



A SAUSAGE FROM BOLOGNA 

Teleky. Even so, I cannot bring myself to play 
upon her weakness. 

Hector {shrugs). Now, my dear Stephen, do as you 
please. Declare yourself and leave her broken-hearted, 
if you must. You have your own nature and destiny, 
your prevailing passion for honour and uprightness, 
— which seems to me as insane as her own fantasia, — 
but I cannot control either of you. There, go. I am 
engaged in throwing together a drama, and I have 
troubles of my own. 

Teleky {takes his hand sadly). Thank you, my 
friend. {Going.) 

Hector. Oh, by the way, we are going to have a little 
entertainment at the Contessa's this afternoon, — a 
very usual thing in Italy. You might mention it to 
the Contessa when you see her. You are cousin and so 
forth. It's a surprise party, but they might want to 
prepare something to eat. 

Teleky. More of the inferno ? 

Hector {in his ear, with great energy). Get out of it! 

[Exit Teleky. 
Enter Andrea. 

Hector. All safe? 
Andrea. Nothing, signor. 
[68] 



ACT THIRD 

Hector. Andrea, have you a copy of Shakespeare's 
plays about you? 

Andrea. Signore? 

Hector. It might be safer, after all, if I wrote at 
the library. And, Andrea, I shall not return before 
evening. You must lock the doors and keep yourself 
in this room. I will have your supper sent up. You 
may have seen an apparition. At any rate it is safer 
so. Roll up those dresses; I will send for them. It is 
better so, much better. [Takes his hat and exit. 

Andrea. The coward ! {Lurches distractedly about the 
room collecting costumes.) What are these revels, these 
wild companions ? The Hungarian is a weakling, that's 
plain. They don't play cards, yet I am sure my master 
is robbing him. And Donna Julia — the black-hearted 
scoundrel! — Shakespeare — have I a copy of Shake- 
speare! He writes all day. {Approaches the table and 
fumbles the papers ; finds the draft letter to the Contessa, 
stares, takes it up, goes into dumfounded amazement, 
throws up his hands to heaven.) Ah, the malefactor! 
He is seeking to marry another woman. The burglar ! 
The traitor ! Ah, Donna Julia, Donna Julia. {Knock- 
ing at the door. Andrea starts, puts back the paper. 
More knocking. Andrea feigns sleep and snores. More 

[69] 



A SAUSAGE FROM BOLOGNA 

knocking. Andrea feigns awakening.) Who's that? 

Julia (without). Let me in! 

Andrea {aside). Her voice! {Aloud.) No one is at 
home. 

Julia {without). Let me in, Andrea! Let me in! 

Andrea. No, Donna Julia. You cannot come in. I 
am not — I am not dressed. 

Jidia {without). Then you will have time to dress 
while I am summoning people to break down the door. 

Andrea. Patience, signora. I am coming. I have 
orders to admit no one. 

Julia {without). But that does not include me ! 

Andrea. Of course not. Why did I not think of 
that? 

{Unlocks door. Enter Julia. She is handsome, fat 
and much dressed. She pulls off her gloves and 
throws them down, arranges her hair at a mirror, 

Src.) 

Julia. They denied he was here, downstairs, and 
gave me some trouble. He must have bought new 
clothes in Bologna. How is my Hector? Has he been 
much fatigued by those lawyers? 

Andrea. Lawyers, madame? 

Julia. He told me it was lawyers he must see. Who 

[70] 



ACT THIRD 

are they? I must see them myself, privately, and find 
out. 

Andrea. Lawyers, madame? 

Julia. Yes, idiot! 

Andrea. My master has seen no lawyers in Bologna. 

Julia. What ! Who has he seen ? 

Andrea. Gentlemen, ladies, the nobility, the fashion, 
the gay world. 

Jidia. His family? 

Andrea. Yes, signora. (Under pretence of doing up 
the bundle he is exposing the costumes.) 

Julia. There were ladies, — something about a will, 
— two old maids. 

Andrea. Old maids? 

Julia. What's the matter with the man? What are 
those things? Wigs? Costumes? {She pulls open the 
bundle and throws the things about.) 

Andrea. A masquerade, signora. 

Julia. He is going to a masquerade? 

Andrea. He is organizing them. 

Julia. Organizing masquerades in Bologna? {With 

sudden fury .) Who is she? Who is the woman? Tell 

me, or I will choke you to death. {She seizes him by 

the throat and drags him about the room.) I knew it, I 

[71 ] 



A SAUSAGE FROM BOLOGNA 

guessed it, I dreamed it, I felt it in my anatomy. Every 
bone ached with it when he left me. He is deserting 
me, and has not the courage to tell me so. Give me 
her name, or I will tear you to pieces ! You are his ac- 
complice ! Give me her name. 

Andrea. Help! Mercy! Patience, signora! 

Julia. He is as lewd as a monkey, a chameleon, a 
dastardly sot. Tell me her name! 

Andrea. Mercy! 

Julia. He has ruined more women than he has hairs 
on his head. But the avenger is on his track ! Tell me 
the hussey^ name ! {Shakes him till his teeth chatter.) 

Andrea {gidping and sputtering). Pardon, mercy, 
forgive, let me speak. Signora, calm yourself! {Every 
time he says one of these things, she shakes him more 
violently. At last she throws him to thejloor.) 

Jidia. Well, will you speak? 

Andrea. Give me a moment — water — where am I? 
— on the table. It is not what you think. 

Julia. Water? Where is it? 

Andrea. On the table, — the letter — the letter — 
{Julia at last finds the draft letter, reads it and screams.) 

Julia. Marriage ! He fled from Paris like a thief in 
the night to marry, to marry! He leaves me like a 

[72] 



ACT THIRD 

broken toy ! But I will find him ! I will tear his eyes 
from his head! Andrea, you helped him escape! 

Andrea {on his knees^ his clasped hands in the air). 
No, signora! I swear by the seven sacraments. 

Julia. But if you did I '11 rip you up like an old 
shoe. You gave him the parcel ? 

Andrea. Yes, signora. 

Julia. What did he say? 

Andrea. He laughed. He said you might follow him, 
but you should not find him till his business in Bo- 
logna was finished. 

Jidia. Furies of Satan! Can you find him? 

Andrea. I think so, signora. 

Julia {sinks on a chair gesticulating ', muttering and 
biting her nails). I will find him, I will find him! 



SCENE SECOND 

The Contessa's Boudoir 

Teleky and Angela. 

Angela. What shall I call thee ? For no name seems 
best 
But Orpheus, the singing troubadour 
That trod the slippery path from Erebus 
[73] 



A SAUSAGE FROM BOLOGNA 

And drew his bride behind. His godlike head 
Beshone the jagged vaultings of the night, 
Gilding the groins, — till Pluto's architect 
Sees his own work. 

Teleky. Nay, but he lost her. 

Angela. How much one moment throws its mean- 
ing back 
On all the years before it! All my griefs 
Seem to have been a childish kind of sport. 

Teleky. Beware of looking back, Eurydice! 

Angela. I felt a kind of pain in meeting men, 
As if I were a chattel. Yet within, 
I longed to know them. Orpheus, with you, 
All is a journey of discovery; 
Nor pain, nor doubt, nor conquest of myself, 
But all oblation. Say that we agree 
That you, in God's own time, shall marry me. 

Teleky. Say we agree in all, why not in this? 
You, when I begged it, put the gift away, 
Which now you offer. 

Angela. Hush, I hear a step. 

Enter Lucia. 

Lucia. If I may enter, I have news for you. 

Angela. Lucia, of all the sisters in the world 
[74] 



ACT THIRD 

Thou art the faithfulest. I could not wish, 
Being alone, that thou shouldst not be by; 
Or being left with one who is myself, 
Thou shouldst not enter. 
I am affianced to this gentleman. 

Lucia. God give you joy — and you, my newest 
brother ! 

Angela. Give us thy counsel now, my sweet Lucia, 
Who hast a hand in all things. Yesterday 
I could not bear the thought of speedy marriage. 
To-morrow I could wed. 

Lucia. You are too cold, 

Too sour-green and backward in the bud, 
Thus to reward Love's years of adoration 
With promise of to-morrow. Wed to-day! 

Angela. If I do blush, you are the cause of it. 

Lucia. Blushes are flags of truce; or, better said, 
The cheeks they leave are such. 
But come, halt, consider, reflect, hearken. 

Angela. What? 

Teleky. What? 

Lucia. Are you calm ? First, sir, you are under sus- 
picion. 

Teleky. I know — Hippolito. 
[75] 



A SAUSAGE FROM BOLOGNA 

Lucia. There is to be an examination, an inquest. 
Tdeky. How? 

Lucia. A tribunal. 

Teleky. I, before a tribunal? 

Lucia. Nonsense! Explain to him, Angela. It's the 
simplest thing in the world. When Hippolito asks 
him if he remembers the red cat, — he must remember 
the red cat. That is all. 

Angela (to Tdeky). Sweet one, you can play a harm- 
less game, a joke, since we are in it? 

Teleky. I will try. (Sighs heaz'ily.) 

Lucia. There! But now for the real news! The 
Prince has made a formal application for the hand of 
Angela. 

Angela. I knew it would come ! It is a disease of 
mankind. Of course the Prince applies. It is a joke too 
— a game too. O my beloved, take it not so seriously. 
What do we care? 

Teleky. When did he do this ? 

Lucia. Just now. 

Teleky. Inexplicable! He does not mean it! 

Angela (to Lucia). Leave us, Lucia: I will explain 
to him. 

Lucia (at the door, to Angela). If vou will take a 
[ 76] 



ACT THIRD 

hint from me, — there is to be such a tempest of fool- 
ery here this afternoon as the world has not seen 
since the Tower of Babel. In the midst of it. vou and 
the poet could slip off to Venice, and be no more no- 
ticed than a pair of sparrows in an earthquake. Think 
of it, Angela. {Exit Lucia. Reenter Lucia. To Angela.) 
The carriage is ordered. It is to be in waiting in the 
alley. [Exit Lucia. 

Angela (to TeleJcy). My own. why does this down- 
cast you ? I have had offers of marriage that brought 
me distress ; but this one brings me onlv amusement. 
And besides, besides, this one will never be considered, 
for, before the time comes for the answer, Orpheus, 
my Orpheus, will have carried me out of Hades. You 
will run off with me to Venice this afternoon. 

Teleky. Spirit of my life, I would not marry you 
As if you were a weak backsliding nun 
That with her lover scales a convent wall. 
All we have felt is true; yet in this world 
Are shrines of truth beside the shrines we build. 

Angela (nith sudden suspicion). What say you? 

Teleky. My father is a prince of Hungary, 
And for a thousand years our house has wed 
Beneath the spreading sanction of the Church. 

[77] 



A SAUSAGE FROM BOLOGNA 

Angela {with rising anger). What mean you? 

Teleky. I speak not for myself, but for my race. 
A proud, old, feeble father, — loving me, 
And counting it dishonour and reproach 
To take the backward road to anything. 

Angela. You are a prince ! You came here in dis- 
guise ! 

Teleky. Yes, — yes, — yes, — yes. 

Angela. But all must be conventional and smooth. 
You would not tread except upon red carpet. 

Teleky. No, — no, no, no. You do not understand. 

Angela. You have a father and a history, 
Titles and lands. 

But ready cash? 
These princely lovers are not rich in cash. 

Teleky. Eight thousand golden florins every month 
To squander if I will. 

Angela. It was not for my money? 

Teleky. Patient God, 

Deliver what I strive to say to her! 
I cannot reach her. 

Angela. You are one of them! 

Owned by possessions, minions to their names, 
Appendages to paltry histories, 

[78] 



ACT THIRD 

Who crawl about till they perpetuate 
The line they worship. O my God, my God! 
Go, sir ! You cannot know what you have done. 
Go ! I am breaking. Leave me. Send Lucia. 
And I who thought that I had found a man ! 
Telehy. Eurydice! 

Angela, Go, go, I say! How dare you say the word? 
Your manhood is a kind of poetry, 
But you yourself are nothing. Go, go, go ! 
You are a fringe upon a robe of state, 
But not a man. Go wear your titles out, 
And drag your frippery about the world 
With one who is your equal. (Sits down and sobs, us- 
ing' her handkerchief.) 
And I who thought that I had found a man ! 
The walls are closing in! I must not weep 
In public with a foreign prince to see. 
Go and report that the Italian girls 
Are very fond in love — you found them so. 
To think a lath like you can break a heart ! 
Go, go, go ! Leave me, leave me alone, 
And use your gentle breeding to forget me. 
Repeat it not — you are a gentleman. 
Telehy. Eurydice! 

Angela. Ah, Orpheus! Forgive me, forgive me! 

[79] 



A SAUSAGE FROM BOLOGNA 

My Orpheus, will you forgive me? 

{She falls on his neck and embraces him with as much 
fei~vour as can be shown on the stage , saying, "For- 
give me, forgive me? She continues to weep and 
to kiss him, until the poor man is limp, wet and 
dishevelled.) 

Forgive me, love, it shall be as you say. 

Teleky. Nay, you shall have your way, my darling 
girl. 

It is the way to save you. 

Angela. Let it go — 

I can go through with all. 

Teleky. But so can I. 

Let us regain ourselves, my beautiful; 

Let us regain the sphere of central light, 

Going or staying. 

Angela. There spoke my Orpheus! 

The Abbe and my aunt are coming here. 

We must escape. Go to the garden, dear. 

[Exeunt severally by different doors. 

Enter the Contessa, the Abbe and Bobo, in earnest talk. 
Bobo. So we went to the prefect of the police to- 
gether, and I introduced the Prince to the prefect and 
described Fifi, and the prefect was most kind. There 

have been several robberies in this neighbourhood 

[ 80] 



ACT THIRD 

lately. The prefect has given orders to have the palazzo 
watched by his best men for several days. He thinks 
that this theft may be merely the prelude to some 
more important robbery. 

Contessa. Good heavens, Bobo ! The palazzo under 
police supervision? 

Abbe. Calm yourself, dear madame, you are in good 
hands. 

Bobo. It appears that the most ambitious and re- 
sourceful criminals sometimes disguise themselves as 
gentlefolk and thus gain an entry into the houses of 
rich people; and when they have gained knowledge, 
and being free from all suspicion — 

Abbe (to Contessa, raising his hand). What did I 
tell you? 

Contessa. This is terrifying. 

Abbe. We must take Bobo into our confidence. 
Bobo, after the prince had left us last night a serious 
thing occurred, — yes, I say it, serious. And had not 
I, by the grace of Heaven, been present — 

Bobo. What, Abbe? 

Abbe. Hippolito fails to identify Hector as Hector. 
Hippolito declares that the individual who is now 
walking in the garden with Angela is an unknown 

[81 ] 



A SAUSAGE FROM BOLOGNA 

person. Hippolito swears it, by certain signs and marks 
known to himself, 

Bobo. With Angela! 

Abbe. An impostor! 

Bobo. Horrible! 

Abbe. Softly, softly. I have been talking to the Con- 
tessa of the necessity of assuring ourselves before tak- 
ing any action. We must confront the false Hector 
with Hippolito in pleno consilio. 

Bobo. When? 

Abbe. Now. Bobo, would you kindly step into the 
garden, and ask the individual if — if he could kindly 
step this way. The Contessa would be obliged. And, 
on your way back, would you call up Hippolito and 
give him a hint as to why he is wanted. He'll come 
willingly enough, I warrant. 

Bobo. Certainly. I will remain with Angela. 

[Exit Bobo. 

Abbe. Rely upon me, madame. I have conducted 
many examinations. 

Contessa. There is a providence in it all, Abbe, and 
in this demand from the Prince. Think now, just as 
we discover — as perhaps we may — that we have been 
imposed upon by a criminal, — and people will talk, 

[82] 



ACT THIRD 

you know, — just as poor Angela has this humiliation, 
her hand is sought in marriage by the hereditary grand 
standard-bearer of the Hungarian monarchy. It is 
Providence, Abbe! 

Abbe. By sagacious management, madame, by insight 
and the ability to unravel mysteries — {Enter TeleJcy. 
To TeleJcy, with pomposity.) Good evening, sir. Will 
you have the goodness to bestow upon us some few 
moments of your time? (He has seated himself and the 
Contessa, as it were, in seats of judgement, leaving 
Teleky to stand.) It has become my duty, sir, to in- 
form you that certain doubts have arisen in the house- 
hold concerning your — ah — identity. And you will 
not think it unreasonable, I know, after so long an 
absence, if you are given an opportunity to, ah, to set 
them at rest, — set them at rest. As an old friend of 
the family — 

Teleky. Certainly, signor. (Bows and fidgets. Enter 
Hippolito.) 

Hippolito. Madame desires me? 

Abbe. Hippolito, will you kindly state over again 
what you said to the Contessa and to myself last even- 
ing as to the identity of Signor Hector. 

Hippolito. 1, Monsieur PAbbe ? 

[83] 



A SAUSAGE FROM BOLOGNA 

Contessa. What you said about not recognizing him. 

Hippolito. I, signora? 

Abbe. About the ear. 

Contessa. About his running away. 

Hippolito. About his running away? Ah, Signor 
Hector, as if he could run away from his old Hippo- 
lito ! I have loved him since he was so high. My little 
Hector! I not know my little Hector! {He approaches 
TeleTcy and fawns upon him.) Pardon, signor, it is true 
there was a scar on his ear. Behold it! 

Contessa. And the tank — 

Hippolito. The tank? Did you not fall in the tank? 

TeleJcy (with extreme effort). I did. 

Hippolito. And came to stay with Hippolito at the 
farmhouse? 

TeleJcy. In winter time. 

Hippolito. Ah, ah! Of course, in winter time. 

TeleJcy. And helped with the olives. 

Hippolito. The olives! He made himself sick on 
them. 

TeleJcy. And there was a red cat. 

Hippolito. And seven small kittens that he saved 
from drowning, and nursed in his hat, — the tender- 
hearted child ! I weep when I remember it. 
[84] 



ACT THIRD 

Contessa (to Abbe). Abbe, you are wrong. He is 
Hector. 

Abbe (to Contessa). It is a conspiracy; Hippolito 
has been bribed. (To Hippolito with great vehemence.) 
Did you not say last night that this gentleman was 
not Hector Bononcini ? 

Hippolito. I, Monsieur TAbbe? I was so excited at 
the thought of seeing him that I know not what I 
may have said. 

Contessa. Abbe, we have wronged our kinsman. 
Hector, the flighty conduct of an old servant has led to 
our doing you almost an outrage. You will forgive us 
under the circumstances, will you not? (TeleTcy bows.) 

Hippolito. Ah, my little Hector, that I should have 
been the cause of giving you embarrassment! (To 
Contessa.) He has told me all the things that ever we 
did together since he was four years old. He has re- 
called my younger days, and Signor Bononcini, your 
husband's benevolence when the three of us went to 
the village together. 

Contessa. Hippolito, you are a good soul, you may 
go. (Exit Hippolito.) Hector, I thank you for your 
forbearance. Really, Abbe, I think you owe him an 
apology. 

[85] ' 



A SAUSAGE FROM BOLOGNA 

Abbe. Since the Contessa desires it. {To Teleky.) 
Pray, sir, accept my regrets for this interview. {Holds 
out his hand. Teleky bows stiffly, without taking it.) 

Teleky {to Contessa). I may take my leave, madame? 

[Bows stiffly, and exit. 

Contessa. You have offended him. 

Abbe. There is something wrong. Confide yourself 
to— 

Contessa. You did not apologize with sufficient sin- 
cerity. 

Abbe. We are not at the bottom of this imbroglio — 

Contessa. You have insulted my guest. 

Abbe. Have confidence — 

Contessa. You were wrong, you were wrong. You 
have involved me in an injustice. 

Abbe. My long services — 

Contessa. You have distressed an innocent man. 

Abbe. My sincere labours — 

Contessa. I am in the toils of circumstances which 
I do not understand; and, Abbe, I am beginning not 
to trust you! 



[86] 



ACT IV 

SCENE FIRST 

The Corridor outside the Drawing-Room Doors 

The Abbe and the Contessa dressed for the street. 

Contessa. The Prince tells me in his letter that he 
is to pay us a visit this afternoon. And it is also the 
afternoon of the Apostles of the Poor — they come on 
Tuesdays. And I am also obliged to go to see my 
cousin Dorotea because she says she is dying. 

Abbe. She is not dying, madame. 

Contessa. How can you tell she is not dying, Abbe? 

Abbe. Because she always says that. 

Contessa. A woman cannot die more than once, can 
she? Abbe, your brutality astonishes me. 

Abbe. Ah, I know I have lost credit with you, si- 
gnora. I followed you to the door to ask a favour of 
you. 

Contessa. Well, Abbe? 

Abbe. Something is expected this afternoon in the 
way of a masquerade, or a surprise party, by the 
Prince? 

Contessa. Yes, Abbe. 

Abbe. It is sure to be on foot before you return, be- 
[87] 



A SAUSAGE FROM BOLOGNA 

cause it is impossible for you to get back before four 
o'clock. 

Contessa. Yes, Abbe. 

Abbe. The Apostles of the Poor will arrive in the 
midst of this, and it may be well that someone should 
be here to explain matters, and make them feel at 
home till you arrive. 

Contessa. True, Abbe, you are all kindness. 

Abbe. Now I would not for a moment arouse ground- 
less suspicion ; yet both of us know that strange things 
are happening in this house, — FifTs disappearance — 

Contessa. Yes, yes. 

Abbe. Do I have your permission to depart with you 
now, as if I were going to accompany you, and then 
to return by the servants' door in order to be on the 
watch,— for protection, — for information? 

Contessa. Why, I see no objection to that. You are 
a true friend after all. 

Abbe (kisses her hand). Ah, Contessa, — to serve you! 

[Exeunt. 
Enter Hippolito. 

Hippolito. I care nothing about that young man. 
He is as cold as the nose of a dog. He is ashamed of 
himself. But for Hector I will do anything ! (Knock- 

[88] 



ACT FOURTH 

ing at front door. Hippolito opens, and enter, in hurly- 
burly, Hector, Giacomo, Pietro, Rufredo, Sarragossa 
and Bobo, followed by servants bearing bundles. Hec- 
tor has a manuscript in his hands. They take off their 
hats and coats and deposit their canes, all talking at 
once.) 

Hector. I have the scheme of it. 

Voices. Give us our parts. 

Pietro. The plot, the plot! 

Hector (to Hippolito). Are the ladies at home? 

Hippolito. Yes, signor, except the Contessa, who 
returns a little later. 

Hector. Good. We will have a rehearsal. We can 
dress in the dining-room. You will have something to 
eat for us afterwards ? 

Hippolito. Yes, signor. 

Hector (in a lower voice). Is the chaise ordered? 

Hippolito. Yes, signor. 

Hector. Leave a step-ladder in the garden by the 
wall. (Hippolito assents. Hector to the rest.) Come 
along all of you. Qa ira, 9a ira! 

Sarragossa (to Hippolito as he passes). Return in 
five minutes. I must speak to you alone. 

[Exeunt Hector, Pietro, Rufredo, Sarragossa, 
Bobo and bearers of bundles. 
[89] 



A SAUSAGE FROM BOLOGNA 

Hippolito. Here's a business! Hector has enchanted 
the whole city. He would make the Santi Apostoli 
sing like cantatrici. He is like Lucifer before the fall. 
He is an archangel. 

Enter Sarragossa as a Roman general, in a costume 
rather too small for Mm. 

Sarragossa. Help me here, Hippolito. 

Hippolito (helps button). Magnificent! 

Sarragossa. Not bad, eh? It is the dream of my 
life! "Friends, Romans, countrymen: My heart is in 
the coffin there with Caesar, and I must pause till it 
come back to me." I weep thus. (Shows how he weeps.) 

Hippolito. He would draw tears from a stone image! 

Sarragossa. I rage thus. (He is about to show how 
he rages, but checks himself.) The Abbe is not here, 
Hippolito? 

Hippolito. Never fear; he has just gone out with 
the Contessa. 

Sarragossa. Apropos (givingmoney) — for the plate. 
You protected me well, old Hippolito. (Pause, and 
as an afterthought, gives more money.) I may need more 
plates. What a man is that Abbe! A sneak — a scoun- 
drel ! If I could but once show up the true nature of 
that low caterpillar! He is a public offence, Hippolito, 
[90] 



ACT FOURTH 

— a stench in the nostrils of all honest men. 

Hippolito. I can tell you something about him. But 
the signor sent for me ? 

Sarragossa. Yes, but my business can wait. If you 
can tell me something against that Abbe, it can wait 
for an hour. 

Hippolito {mysteriously). The police have this morn- 
ing apprehended Matteo, the Abbe's body-servant. 
They found him hanging about the palazzo. What do 
you think they found in his possession? {In a stage 
whisper.) Fifi! I have it from my wife's mother, Mat- 
teo's cousin's aunt. Fifi's dead body ! 

Sarragossa. Found in the possession of the Abbe's 
body-servant! He puts his servant to watch the house, 
does he? — to see who goes in and out, — and his ser- 
vant is found with Fifi's dead body ! Ha, ha, ha ! In his 
possession ! Ha, ha, ha, ha ! The dead body ! Ha, ha, 
ha, ha, ha! Help me, Hippolito! Ha, ha! Help me, 
can't you? Hup! Hup! Hup! {Puts his hand on Hip- 
polito *s shoulder.) I put that dog in the recipient, in 
the public waste-box, on the street corner as I passed 
by, on leaving the palazzo yesterday. 

Hippolito {dumfounded). You, signore? 

Sarragossa {nodding many times and with gesture 

[91] 



A SAUSAGE FROM BOLOGNA 

of sitting down). An accident! Your fault, for leaving 
the dog in the armchair. {The merriment now begins 
to seize Hippolito.) Stop it, Hippolito, stop it! 

Hippolito. And Matteo picked him out! 

Sarragossa. The criminal! The low thief! 

Hippolito. But the necklace is gone. 

Sarragossa {producing it). I was going to ask you — 
what shall I do with it ? I have been carrying it about 
ever since. How shall I return it? I thought you might 
leave it somewhere and let it turn up later. 

Hippolito. Like the dog, — to give trouble to some- 
body, — me perhaps. No, no, signor! 

Sarragossa. Put it in the wood-box, — in the soiled 
clothes. Or — I have it! — in the Abbe's pocket! 

Hippolito. Those big pockets that he keeps to put 
bonbons in when he dines out? 

Sarragossa. Why not? He must be used to finding 
all sorts of things in them. He is always filling them 
with trash. If I could show up that man in his true 
light, — his true light, Hippolito, — what a service to 
the Contessa! 

Hippolito. Expose him ! 

Sarragossa. Unmask him! 

Hippolito. Show the world what he is! 
[92] 



ACT FOURTH 

Sarragossa. Caught at last! 

Hippolito. Give me the necklace. (Takes it.) 

[Exit Hippolito. 

Sarragossa (with solemnity). This is Nemesis, Abbe. 
Nemesis that stalks in darkness, overtaking the work- 
ers of iniquity! This is the power of private fate that 
delays long, yet walks, — walks, — walks — (Noise of a 
plate breaking.) Help! He is coming! (Rushes madly 
to get away; but as he takes the direction of the front 
door, he returns to find himself face to face with the 
AbU.) 

Abbe. Good afternoon, papa Sarragossa. You take 
part in the festivities of the young people, I see. 

Sarragossa. How dare you call me papa Sarragossa? 

Abbe. That's what the young people call you. 

Sarragossa. Why, you snake, you listening reptil- 
ian, the young people may call me what thev please. 
Shall I tell you what they call you, you ophidian 
crawler ? 

Abbe. Mv friend, be calm. You yourself are rather 
a climber than a crawler. Our Friday Evenings have 
never been the same since you were admitted to them. 

Sarragossa. Our Friday Evenings! You tame cat! 
Do you own this palazzo? Are you prime minister? 

[93] 



A SAUSAGE FROM BOLOGNA 

That's what they call you, — the prime minister. 

Abbe. Ha, ha, ha! Very good! 

Sarragossa. Let me tell you, you guzzling, sinister 
ecclesiastic, that prime ministers have falls, dismissals, 
disgrace, banishment. 

Abbe. Come, come, Sarragossa. I suppose that if 
you married the Contessa, my position in the house 
would not be quite secure, eh? (Takes snuff ;) 

Sarragossa. How dare you place your obscene paw 
upon a sacred subject? 

Abbe. But you can't, you see. The macaroni is in 
the way. 

Sarragossa. O thou heartless scion of worldliness ! 
Are there not powers on earth stronger than the pre- 
judices of a bourgeois nobility? Is there not love, 
poetry, a world of life above the reach of intrigue? 

ye stars that reigned above my nativity, look down 
with mercy upon the uncomprehending world in which 

1 move, and particularly pity this slop-fed son of a 
Sienese apothecary who sees ye not. (To Abbe.) Go! I 
spurn you. 

Bobo (putting his head in through the drawing-room 
door). Papa, they are waiting for you. 

[94] 



ACT FOURTH 

SCENE SECOND 
Drawing-Room 

TeleJcyas Romeo, Rufredo as Shylock, Pietro as Othello, 
Giacomo as a court fool, Sarragossa as Mark Antony, 
Angela as Juliet. Hector, Lucia and Boho in their 
usual apparel. They have their parts and are reading 
them. * 

Pietro (very crossly). I do not understand this play. 

Sarragossa (to Hector). Signore, signore ! You have 
cut out the best parts of my speech. I cannot work 
myself up to the tears without going through a cre- 
scendo. 

Rufredo. Is this a rehearsal or a performance? 
(They clamour about Hector.) 

Hector. Once for all, gentlemen, I must have dis- 
cipline. I have gone all lengths in giving each of you 
the roles you prefer. With discipline and good nature 
all will go well. It will resolve itself into a series of 
talking tableaux. 

Telehy (aside to Hector). I must tell you, sir, that 
your conduct is inexplicable. I have consented to put 
on this dress to please the young ladies, but I must 
have a few words with you in private. 

Hector (to Teleky). Anything, anything. Only a 

[95 ] 



A SAUSAGE FROM BOLOGNA 

little later, please. (To Sarragossa.) Signor Sarragossa, 
will you pose Romeo and Juliet for the balcony scene? 
You understand these things. 

Sarragossa. With the greatest pleasure in life. 
{Does so, bustling about and giving orders.) 

Hector (aside to Lucia). You must help me with all 
your resources. Certain events have occurred which 
may lead to my — my shortening my stay, — my dis- 
appearance, — sudden and complete disappearance. I 
cannot explain more fully. We must succeed in forcing 
the lovers to fly within this hour. 

Lucia (aside to Hector). It was all I could do to get 
them into their costumes. He thinks he is to be made 
fun of. 

Hector. Do they know that the chaise is in waiting? 

Lucia. Yes, I told her. 

Hector. Listen. We will give a rehearsal of the bal- 
cony scene. After that we will give Sarragossa a show 
over the bier of Caesar. During Antony's speech, no 
one will observe the lovers. They must be off*. 

Lucia. Beware of duels in the drawing-room ! 

Hector. Of course — the duel is for to-morrow. (To 
the rest.) Now gentlemen, attention ! Master Romeo, — 
Madame Juliet — 

[96] 



ACT FOURTH 

Hippolito (announcing'). The Signori the Apostles of 
the Poor! 

Enter Protocopoli, Giusti, Frescobaldi and Donato. 

They are quaint old fogies very unlike each other, 

but alike in being gallant gentlemen with beautiful 

manners. 

Protocopoli (to Lucia, who has come forward). Par- 
don, signorina. We intrude? Monsieur l'Abbe told us 
we were expected. 

Lucia. You are most welcome. (Introducing.) Prince 
Teleky, — my cousin Hector: Cavaliere Protocopoli, 
Conte Giusti, Commandante Frescobaldi, Signor Do- 
nato, — members of a benevolent society, the Apostles 
of the Poor; but, I should say, old friends, whom we 
welcome always. 

Hector. Of course. But we will give a performance 
for your charity next week. And you are come in time 
to be of the greatest assistance by your criticism. Will 
you not sit down as audience? 

Protocopoli. Charming! 

Giusti. Most gratifying ! 

Frescobaldi. Excellent idea! 

Donato. What a pleasure ! 

Protocopoli. What do you call the play? 

Hector. It is a series of scenes from Shakespeare. 

[97] 



A SAUSAGE FROM BOLOGNA 

Protocopoli. Ah, this is indeed good fortune. 
Hector. You know we Italians are accused of tak- 
ing liberties with Shakespeare. Nothing is more un- 
just. We simply use what we find. 
Giusti. Most interesting! 

Hector. The first characters to appear are Romeo 
and Juliet. 

(He continues to talk to the Apostoli in dumb-show. 
In the subsequent episode Hector never quite loses 
touch with the Apostolic bid uses a sort of running 
conversation with them to mash his odious declara- 
tion to Angela?) 

Teleky (aside to Angela). This is a most atrocious 
outrage. He would have us recite those divine lines, 
while he laughs in his sleeve. 

Angela. Let him laugh, it will not hurt us. 

Teleky. He will make love to you. 

Angela. He will not dare. 

Teleky. He is an open suitor for your hand. 

Angela. He will not dare, my sweet one. 

Teleky. If he does, 

I'll run him through the body. 

Hector (to the actors). Now, gentlemen. (To the 
Apostles.) You see, this side of the drama has never 
been understood. 

[98] 



ACT FOURTH 

Teleky. Am I to begin? 

Hector. If you please. 

Teleky (as Romeo, to Juliet). " By a name 
I know not how to tell thee who I am. 
My name, dear saint, is hateful to myself 
Because it is an enemy to thee." 

Hector. Too cold, too cold! It is no summary 
Made by a sleepy doctor to his class, 
But love and transportation. 

(To Teleky.) Stand to one side and let me show the way. 
You must stand closer to the lady, sir, 
And let some natural passion fill the words. 
Excuse me. (To Juliet.) "By a name 
I know not how to tell thee who I am. 
My name, dear saint, is hateful to myself 
Because it is an enemy to thee." 

(Protocopoli and the rest of the Apostles applaud.) 

Protocopoli. Magnificent, wonderful. (They talk and 
exclaim. Hector is still kneeling, holding Angela! s hand 
and attempting to put his arm round her waist.) 

Hector (aside to Angela). Darling, I love thee! All 

this parody 

Is but a frame that I may tell thee so. 

I love thee, hotly, fiercely, terribly! 

Fly with me. 

[99] 



A SAUSAGE FROM BOLOGNA 

Angela {aside to Hector). Unhand me, sir! How dare 
you speak to me! 
Unhand me, or 111 strike you in the face. 

Hector (to Angela). Protesting angel! (Rises. To 
the Apostoli.) All amateurs, you know, 
Lack passion. *Tis a natural defect, 
And one not easily cured. 

Protocopoli. You are a master! 

Donato. Truly, wonderful. 

Hector. Ah, so-so, — my hobby, my distraction. 

(Talks to the Apostoli in dumb-show.) 
Teleky (aside to Angela). Ill have his blood for 

this! 
Angela. Not here, not here! 

You must not speak to him. Not here, not here. 
You cannot, shall not. — Water! I am ill. 

(Totters to a chair. General commotion. Somebody 
fetches water.) 

Lucia. Give her more air. A momentary qualm 
That she is subject to. Give her more air. 
Is it not so, my sweet one? Come with me. 
She must lie down a moment. 

(Lucia leads Angela out. Hector following, very so- 
licitous.) 

[ ioo] 



ACT FOURTH 

Hector, May I come? 

[Exeunt Angela and Lucia; and, by another 
door, exit Teleky. 

Hector {returning). Too bad, too bad. Now for our 
serious work, — 
For Sarragossa and Mark Antony. 

Reenter Lucia. 

Lucia. She will be well again in a moment, and bids 
us proceed. 

Hector. Now, lads, masters, senators, populace, you 
all must play. We must have the Roman scene to the 
life. Caesar's burial! {He works with great activity, 
pulling out the large Italian chest which is to serve 
as the bier, <$fc. Everybody works furiously, pulling 
about rugs and chairs.) Caesar! We have no body of 
Caesar ! 

A voice. Bobo, take Bobo. 

Another voice. His nose will not do. 

A third voice. Too much hair — Caesar was bald. 

Protocopoli. Why cannot I take a part in this pic- 
ture ? Behold my nose ! 

Hector. Splendid! 

Protocopoli. And as for hair — (He lifts off his 
toupee, disclosing a bald head.) 

[ 101] 



A SAUSAGE FROM BOLOGNA 

Hector. You are a tramp, Cavaliere; you are a Tro- 
jan. {To the rest.) Put the bloody robe on the Apos- 
tle immediately. 

Giusti. And I? 

Frescobaldi. And I? 

Don at o. And I? 

Hector. The doge's costumes, of course. The ponti- 
fex maximus must have been at the funeral, and prae- 
tors and aediles. {They dress the Apostles up. Their cos- 
tumes are grotesque and agreeable pieces of idiocy. To 
Protocopoli.) Step up here, Cavaliere. {Places Protoco- 
poli recumbent upon the chest.) 

Protocopoli. This is the most enchanting sport I 
ever had in my life. 

Hector. Now then, we are off! Shylock, stand here. 
Jews of course were in the audience. Othello ! — Moors, 
of course, too. — Giacomo! — Fools of course, always. 
{To Sarragossa.) Now, old fellow, go ahead. — (5ne 
moment! {To all.) When he says "to bury Caesar, 51 
— all of you give a sort of low wailing roar. 

Sarragossa. "Friends, Romans and countrymen, 
lend me your ears : 
I come to bury Caesar" — {All groan.) 

[ 102] 



ACT FOURTH 

Enter Contessa and Abbe. 
Contessa. What is this caterwauling? Mercy! Who 
is that? 

(Protocopoli has assumed a sitting' posture in the 
tomb.) 

Abbe. It is another bandit, madame. He has intro- 
duced a whole gang of them. 

Contessa. Prince, what are these doings in my house? 

Hector (to the actors). Wait! Keep your places all. 
It's a coup de theatre. 

Contessa. Protocopoli! Giusti, — Frescobaldi! 

Hector. Forgive them, Contessa, — a charade. Had 
you waited three minutes more we should have re- 
ceived you as Christians. (To the actors.) Now for in- 
termission. (They break up and circulate, all talking 
at once. To Contessa.) A thousand pardons for taking 
liberties with your drawing-room. 

Protocopoli (to Contessa). I could not resist. It is 
the most rejuvenating piece of nonsense. 

Giusti. Alter all, apostles ought to attend funerals. 

Contessa. But, Sarragossa, your uniform is too small. 

Sarragossa. I could not wait to have it enlarged. 

Contessa. Well, I forgive you. And now, Prince, I 
must have a talk with you. (They sit down together at 
[ 103 ] 



A SAUSAGE FROM BOLOGNA 

left front of stage.) Your note was a surprise to me. 

Lucia {coming up). Oh, auntie, we have had such fun. 
I never knew what talented people we all were. {Aside 
to Hector.) Hippolito wants to speak to you. {To Abbe 
who has come up.) Ah, Abbe, I wish you could have 
been here. 

Abbe. Too old, signorina, and you would have 
made me play the villain, I fear. 

{Hector has risen at Lucia's approach, and, as he ex- 
cuses himself the Abbe takes his seat.) 

Hector. One moment, dear madame. {Lucia joins 
Giacomo, who is approaching.) 

Contessa {to Abbe). Again you were wrong, Abbe. 
It is a most innocent and charming scene. 

A bbe. The end is not yet. Some calamity is impending. 

Contessa. Nonsense, Abbe. 

{Sarragossa joins the Contessa and Abbe. Hippolito, 
who has before entered and whispered to Lucia, now 
approaches Hector, who is at the right front of the 
stage, and hands a note. Lucia and Giacomo are 
making conversation to each other a few feet away, 
but are on pins and needles to see the note.) 

Hector {in a stage whisper after reading note, to Lu- 
cia and Giacomo). Hallelujah! a challenge. They have 
flown to Venice. The cup of my happiness is full. 

[ 104 ] 



ACT FOURTH 

Lucia, I could embrace you! Giacomo, I love you. 
Hush! Call them all about me and I will explain 
everything. 

Hippolito. Pardon, sir, the police. 

Hector. What police? 

Hippolito. The police that surround the house. (Hec- 
tor does not understand.) The police you and Signor 
Bobo ordered to surround the house. 

Hector. Merciful powers of heaven! I forgot the 
police. 

Hippolito. You see, sir, I could not help it. The 
ladder stands, thus — they get down, thus — behold the 
police! Signor, signor, I could do nothing. The police 
took them in the alley like doves or lost children. They 
are bringing them about to the front door. Signor, — 
signor ! 

Hector (to Giacomo and Lucia). This is terrible. 
What shall we do ? 

Giacomo. Terrible? Not a bit. You are a manager; 
but you are about to witness a scene not on the pro- 
gramme. That is all. Take a front seat and laugh. 

Hector. But the police, — but — but — you know I 
have engagements this afternoon. I told Lucia I might 
have to leave early. 

[ 105] 



A SAUSAGE FROM BOLOGNA 

Giacomo. Nerves gone? But hush, it is coming. 
(Many voices are heard in the corridor. The hubbub 
increases. The doors at centre back of stage are 
thrown open, and enter a guardian of the peace, 
conducting Teleky and Angela, both in considerable 
disarray due to rapid change of costume and to the 
scaling of the wall. Angela! s hair is about her 
shoulders. She shows a tendency to hang upon Tel- 
ehy, who looks sheepish enough. The doors remain 
open, showing more police in the corridor.) 
Contessa. Angela, in the name of Heaven! Hector! 
Abbe! What has happened? 

Abbe. It is as I predicted. (Points to Teleky.) Be- 
hold the malefactor! 

Contessa. Angela, my darling Angela! What has 
happened? Speak, somebody, and tell me! Prince Tel- 
eky! Sarragossa! Tell me what it is! I feel as if I were 
going to faint. Oh, help me, somebody! 

Sarragossa (in a deep voice). I am near you, Teresa. 
Abbe. Put your confidence in me, signora. 
Julia (without). There is an impostor in this house ! 
Bring me to him ! I have tracked him here I He can- 
not escape me. The impostor, the impostor! (Enter 
Julia at the back.) Where is Hector Bononcini? 

(Now from the moment that her voice has been heard, 
Hector has been seized with visible agitation, and 
[106] 



ACT FOURTH 

just before Julia's entry, he has taken refuge under 
the harpsichord, where he now crouches.) 

Abbe {stepping forivard and pointing to Teleky). 
There is Hector Bononcini. 

Julia. That! That is not Hector Bononcini. 

Contessa {in a faint voice). Save me, Rinaldo. 

{She faints. As she does so, both Sarragossa and the 
Abbe spring to save her, and she falls between them, 
Sarragossa getting rather the better position and 
continuing to fight off the Abbe, while he himself 
soothes the prostrate Countess.) 

Sarragossa. Teresa, my darling one, open your eyes. 
It is your Rinaldo. — Keep off, you infernal brute, you 
have killed her with your machinations. — My sweet 
poppet, my pet lamb, look up ! — Water, you fool ! Bring 
water! — {He is stroking her brow.) It is your Rinaldo. 
{Someone has given the Abbe a glass of water, which 
he is proffering; but Sarragossa, with his face close to 
the Contessa' 1 s, fights off the Abbe without looking at 
him, and knocks the glass from his hand.) Keep off, you 
ruffian, how dare you ! 

Abbe {wiping the water from his clothes). I bide my 
time. 

{While this is going on Julia has advanced to the 
front of the stage, looking about.) 

[ 107] 



A SAUSAGE FROM BOLOGNA 

Julia. Where is he? Show him to me! I know he is 
here! 

{Hector has fled from under the harpsichord and is 
at the door.) 

Hector. Let me out ! Let me out ! (He is turned back 
by the police.) 

Julia. Ah, traitre, scelerat! I have you now! (She 
makes for him.) 

Hector. For the love of Heaven, Protocopoli, seize 
her — she is a mad woman! Giusti! My dear Giusti! 
Hold her while I explain. (The two Apostles lay hold 
of Julia.) 

Julia. Let me go, or I'll rattle your teeth, you old 
harlequins! (She struggles.) 

Hector. Have you got her fast? 

Protocopoli.} 

\ Safe, signor. 
Giusti. J 

Hector (mounts on a chair on the farther side of the 
harpsichord. The Contessa has come to her senses). 
Listen, my friends: 'tis true that I am Hector. 
My Aunt Teresa, listen. It is I, 
Your nephew Hector; and this lady here 
Is Julia, my affianced, lovely bride. 

Julia. Ah, hypocrite! (Struggles.) 

[ 108 ] 



ACT FOURTH 

Proiocopoli. Make haste, sign or ; for she is strong, 
And we are old. 

Hector. My loved and darling wife. 

Julia. Devil! 

Hector. Prince Teleky, your almost royal name 
Has, in this cause, been used to help your suit, 
And when you understand you will forgive me. 
(To Contessa.) Give me the letter, Countess, that I 

wrote, 
Asking the hand of your sweet Angela 
For Stephen Teleky. 

{The Countess produces the letter from her reticule ', 
and it is handed across the stage to Hector.) 
This letter will explain us to ourselves. 
Julia shall read it first. Nay, hold her hands, 
Or she will tear it. Yes, the hand is mine, 
But mark the signature. {Pointing.) The Prince, my 

friend, 
Was used by fate through me. It is not I, 
But he, that seeks to wed sweet Angela; 
And in his name again I give the note 
Back to my aunt, the Countess. ( The note is handed back.) 

Julia (to Hector). You are mine? 

Hector. Yours and yours always ; yours to have and 

hold. 

[ 109 ] 



A SAUSAGE FROM BOLOGNA 

Yours in this enterprise, from first to last. 

{To Protocopoli andGiusti.) Release her, signors; she 

is tractable. 

{Julia and Hector embrace. Hector now speaks while 
Julia hangs repentant on his heart.) 
Much must be said and done ere all the knots 
Are ravelled from this tangled history. 
But 'tis a joyous, happy-ending farce 
To four of us. Stephen, I will subscribe 
The whole sky over with apologies, 
And make them good with fact. Forgive me now, 
Ajid later you shall know the reasons why. 

{Hector and Teleky shake hands.) 
My Aunt Teresa, you forgive me too? {Kneels.) 

Hippolito. It is, it is, signora ! It is Hector, 
My little Hector. 

Contessa. Ah, I feel it is, 

And do accept him {kisses him). Angela, my child 

{kisses her). 
{To Teleky.) And you, good friend, I ever did accept 
Under whatever name. 

{A movement at the door. Enter an officer of the po- 
lice pushing before him Matteo, whom he holds by 
the shoulder with his left hand, wliile^ with his right) 
he holds aloft the remains of Fifi.) 

[110] 



ACT FOURTH 

All Fifi! 

Contessa. Fifi, my darling Fifi! {Takes the dog.) 

Officer. Found in this man's possession! 

{General consternation.) 
A voice. The Abbe's servant! 
Officer. Skulking in disguise. 
Hippolito {with accusing vehemence). Where is the 

necklace? 
Abbe. Matteo, be calm. 

Where did you find that object? 

Officer. Ah, indeed! 

Matteo. I found it in the street. 

Abbe. He found it in the street. 

Many voices. Where is the necklace? 

Matteo {shrugs). I cannot say. 

Abbe. Let him be searched. {Officer searches Matteo.) 

Officer. Nothing, signora. 

Matteo {shrugs). It was not there! 

{Commotion, and cries of "Strange!" "The ras- 
cair$c.) 

Sarragossa. In catching thieves it is the wiser plan 
To search the master when you catch the man. 

Contessa. Sarragossa, you amaze me. Pray be silent. 

[ in ] 



A SAUSAGE FROM BOLOGNA 

Sarragossa. Can I be longer silent? I have seen 
A pilferer at work for many months, 
A petty pope of intrigue, and a knave. 

Abbe. Madame, protect me. I am innocent. 
Sarragossa. Let him be searched! 

(Consternation. Everyone talks at once.) 
Giacomo {aside to Abbe). Abbe, submit; for if you 
have it not, 
Your enemies are damned. 

Abbe. Must I expose 

The private little trifles in my pocket? — 
My own affairs ? It is a degradation. 

Giacomo {confidentially). Have you the necklace? 
AbbL^o\ 

Giacomo. Submit, and triumph. The rest is laughter. 
Abbe {to all). Search me! {Sensation.) 
Officer. Ajutante! {The adjutant comes forward, the 
officer seating himself at a table with pen and pa- 
per.) Ready! 
Ajutante {producing articles from Abbes pocket). 
Right side! — A snuff-box. A piece of green seal- 
ing wax. 
A voice. The Contessa's wax. 
Contessa. Ah, Abbe, you are welcome to it. 
[ 112 ] 



ACT FOURTH 

Ajutante. Two dried prunes. {Laughter.) A thimble. 

{Laughter.) 
Sarragossa. Do you sew, Abbe? 
Ajutante. A yard of blue ribbon. 
A voice. It is a magpie's nest! 
Ajutante. Four cakes of chocolate. — Left side! 
Giacomo. Courage, Abbe, this is nothing but gaiety. 
Ajutante. A newspaper scrap. Ah? ah! ah-h! What's 
this? {Produces the necklace. Shouts and groans, 
hisses, laughter, wild disturbance and cries of 
"Shame!") 
Abbe. I am innocent. 

Contessa. O Abbe, Abbe, how could you do it! 
Abbe. I am innocent! 
Officer. Shall I arrest him, Contessa? 
Sarragossa. No, my Teresa, let us not beat down 
A falling reputation. He is punished. 
It were unchristian to pursue him more. 

{Murmurs of approval : "Noble" " The gallant gen- 
tleman;" "A heart of gold? Sfc. To Abbe.) 
Abbe, I loved thee not, yet thy disgrace 
Drags sorrow from an eye unused to flow. {He operates 

his handkerchief) 
My friends, my friends, we must be merciful, 

[us] 



A SAUSAGE FROM BOLOGNA 

Keeping our hearts still tender. Time may bring 

Some mitigating circumstance to light 

To make us bless forbearance. Which of us 

Could stand to have his inmost pockets picked 

Without a sense of shame ? Prince Teleky, 

You have been guilty of some trickery 

To win your Angela. And, Hector, you 

Have dipped your soul in lies for Julia's sake, 

I cannot say what Giacomo has done 

Beyond his daily stint of knavery 

For his Lucia's sake, but surely something. — 

Why should I shame to say it? I myself, 

To win a woman, almost lost my soul. 

Abbe, your hand! 

Contessa. Rinaldo, you are right! 

And each of us has learned a page of love 
Out of a book of sorrows. Angela, 
Your griefs have blossomed in four marriages. 
It all grew out of you. Speak the last word. 

Angela. I am too happy yet to speak at all. 

The End 



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